Episode 198 – Deep Purple – Live with Joe Satriani (Saarbrücken, 1994) – Part 2

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  • Cynthia Dube
    • I’m writing from beautiful West Warwick RI, haha!   I grew up in Smithfield and Burrillville, still have some family in Smithfield (Dube cousins, an uncle), though I am long out of touch with them.     
    • I found your podcast (specifically episode #055 from 2020) after seeing the Dio documentary and I was looking for more Dio love and appreciation!   That definitely came through with you guys, and when I realized you are/were from RI I got even more excited, haha!   
    • I’ve liked Purple, Sabbath, Rainbow, Dio, etc for as long as I can remember, but I never had much initiative in purchasing and collecting records, and I never dug too deeply into band histories, members and lineup changes, etc.   I don’t really know why!   Then I went through a kind of personal “Dark Ages” in the late 80s right thru to the 2000s where I wasn’t really listening to much music at all …  and I missed out on so much from that time period.   Seeing the Dio doc really lit the fire under my butt to seek out what I never did in the past, so now I have a lot to catch up on!    I’m really grateful to have stumbled across your podcast, and I’m looking forward to learning more about Purple and all the other great stuff around them.  I’m psyched!
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  • Or Florida!

In Memoriam:

Deep Purple Live in Pennsylvania and New Jersey!

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Full show on YouTube:

Concert Location:
https://en.wikipedia.org/wiki/Saarlandhalle
Covered in detail in episode #195.

Setlist:

First half of show covered on: Episode 195 – Deep Purple – Live with Joe Satriani (Saarbrücken, 1994) – Part 1

  • Highway Star
  • Ramshackle Man
  • Maybe I’m A Leo
  • Fireball
  • Perfect Strangers
  • Pictures Of Home
  • Keyboard Solo
  • Knocking At Your Back Door
  • Anyone’s Daughter

Second half of show covered on this episode (Episode 198):

  • Anya
  • The Battle Rages On
  • When A Blind Man Cries
  • Lazy
  • Satch Boogie
  • Space Truckin’
  • Woman From Tokyo
  • Paint It Black

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Episode #197 – Ritchie Blackmore’s Rainbow – Stranger In Us All (Part 2) with Scott Haskin

Link to video episode on YouTube: https://www.youtube.com/watch?v=-CVqp1qI6TE

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Apple Podcasts Reviews:

  • Blackmores Tights – UK – 5 Stars!
  • Old friends chatting about the greatest band in the world
  • Found this podcast while wondering if there was a Deep Purple Podcast. Turns out there is and it’s called The Deep Purple Podcast, how did it take so long to find this! It’s taken me nearly a year and a half to almost get up to date (only 20 behind now). It’s so addictive. I feel like I’m eaves dropping on 2 old friends who just so happen to like all the same music I do. The only thing is, they can’t see me and they can’t hear me Tutting loudly at some the opinions they have (Saints and Sinners is Whitesnakes worst ranked album??? Tut, Tut and Tut!) They claim not to be but listening through all the shows they are slowly becoming experts. Look forward to listening to many more episodes to come and learning new things about the band I thought I knew everything about. Grab the flexatone and enjoy the well deserved 5 stars! Blackmores Tights x

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  • Greeting from ‘70s Weekly Countdown!

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Album Tracks:

Side Two:

  1. Too Late for Tears (Blackmore, White, Pat Regan)
    • When asked in Young Guitar magazine which solo on the album he liked the best, Ritchie answered, “Too Late For Tears sounds very interesting. All the studio versions are played slowly, although I have a habit of playing everything as fast as possible, but in the studio you usually have to take care of the clarity of the sound to the detriment of the live sound, but in Too Late For Tears I played very naturally. “Ariel” also came out naturally. The first take sounded like I was drunk, so I had to re-do it, but the second I was able to play better.”
    • On this song having a similar riff to “Can’t Happen Here” Finnish Radiostation Metalliliitto – September 27, 1995: ”Right. Music goes round and round. Sometimes I play something and I don’t even understand that I have already recorded it. Or sometimes I understand, but I like it so much that I decide to use this idea again, to approach it from a different angle. As for this song, I understood that it was similar to “Can’t Happen Here”, but I like this tune so much that I thought it was a good idea. If I thought this song was just a copy of “Can’t Happen Here”, I wouldn’t record it. But I thought it was worth it. This is just a small part of the song. When we were composing it, I said, “A bit like Can’t Happen Here.” Someone from the group asked: “So what are you going to do? Will you sue yourself? ” I said, “Well, yes, that’s right.””
  2. Black Masquerade (Blackmore, Paul Morris, White, Night)
  3. Silence (Blackmore, White)
  4. Hall of the Mountain King (Edvard Grieg, lyrics by Night, arrangement by Blackmore)
    • Edvard Grieg
    • https://en.wikipedia.org/wiki/Edvard_Grieg
    • Stefan Wach, Gitarre & Bass, Germany – 12/1995:
    • On the new album you picked up a classic piece by Grieg with ‘Hall Of The Mountain King’, which you played together with the “Lancasters” at the beginning of the 60s, at the time when you were still was working as a session guitarist. Back then, the piece was called ‘Satan’s Holiday’…
    • How did you find that out? It’s almost not true anymore! I think that was in 1964, long before Deep Purple. Yes, I played a few sessions at that time – with the Outlaws, produced by Joe Meek, then with “Heinz” (Heinz Burt, another signing of the then indie pope Joe Meek – Ed.), with Burr Bailey (& The Six-Shooters, a title called ‘Like A Bird Without Feathers’ – Ed.) and also pure sessions, just for fun, with Nicky Hopkins, Chas Hodges and Mikki Dallon. I think I really got nice around.
    • From Young Guitar interview: “Edvard Grieg is a Norwegian composer, I am attracted by his personality, he was a weirdo. I read books about him, he was a hermit. His music is filled with depression. It seems to convey what is happening in my head. This is a wonderful melody. I am fascinated by such majestic and melancholic melodies. I first saw the fourth act of “Peer Gynt” on TV at the age of nine, I heard “In The Hall Of The Mountain King”, and this music just mesmerized me. I immediately had clear images of caves, witches with long nails. Mom couldn’t understand why it interested me so much (laughs). By the way, I already wrote it down once, in one session in 64. Then it was an instrumental.”
    • Ritchie from Finnish Radiostation Metalliliitto – September 27, 1995 :”This is probably my favorite song on the album. It is great. It’s easy to play, but the music doesn’t always have to be difficult to be interesting.”
  5. Still I’m Sad  (Paul Samwell-Smith, Jim McCarty)
    • Paul Samwell-Smith
    • Jim McCarty
    • The song originally appeared on “Having a Rave Up with the Yardbirds” in 1965.
    • When asked by “Young Guitar” about why he included this song and closed an album with it again: “We played it at rehearsals, the musicians said it sounded great. I already played it at concerts with vocals, it was not very interesting to me, but the guys asked it very much. When people from the record company found out about this, they insisted that we should record it. I was tired of it, so I just couldn’t bring myself to properly start recording. Of course, it would take only an hour to record, but after five minutes I got tired and said: “That’s it, I won’t play any more.” The fact that it is last does not mean anything. At first it was supposed to be a bonus track. Anyway, “Still I’m Sad” makes me sad all the time… (laughs).”

Bonus Track (Japanese Edition)

  • Emotional Crime (Blackmore, White, Regan)

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Rtichie on slide playing on “Stranger In Us All” from Robert Haagsma, Aardschok Magazine – October 1995: “”That’s right. I really like slide guitar, but I have never found myself in the way it is usually played: under the neck with the bottleneck around the little finger. The glissando is much smoother when I hold it in my whole hand and move overhead, like a steel guitar player, because the movement comes from your wrist and not from your little finger. It took me some time to master that technique. It produces a traditional feeling in a number of songs that appeals to me. I notice that as the years go by I am more fond of good melodies, also in my solos. When I was seventeen I preferred to stuff as many notes as possible into one solo. That was the challenge at the time. In recent years, emotion and melody has become more important.”
  • When asked if he was satisfied with this lineup of the group by Finnish Radiostation Metalliliitto – September 27, 1995 Ritchie responded: “This week, yes.”

Reviews:

  • Darker Than Blue Issue 48  January / February 1996
  • Rainbow’s comeback CD follows very much the pattern, direction and sound heard on Straight Between The Eyes and Bent Out Of Shape. Indeed you’d hardly guess that twelve years separated the latter from this new offering. Sadly, for those of us hoping the blistering guitar work he exhibited on that last ill-fated Purple tour in 1993 was the prelude to an equally devastating move forward in the studio, this CD fails to deliver anything like the goods necessary to enable Blackmore to recover some of the standing lost during the final Purple debacle in 1993.
  • WOLF TO THE MOON sets the scene, a standard medium paced Rainbow rocker. On first hearing Dougie White sounds almost identical in style and approach to Joe Lynn Turner. A little bit coarser round the edges perhaps, but it’s clear Blackmore wants this formularised rock voice whoever supplies it. The track itself is a very one dimensional and inauspicious beginning to the CD.
  • HUNTING HUMANS is a real plodding effort, almost as if they’d slowed the whole track down, leaving it struggling against a loose puddingy bass sound which sucks everything in. There’s an instrumental classic here for the taking had Blackmore wanted. The singer manages to rhyme “mirrorball” with “inexcusable” – amazing.
  • ARIEL (after a Zeppelin style drum walloping opener) is GATES OF BABYLON 2. The band are trying to at feast sound a little more grown-up here. The vocals ride in and kill it dead, with lyrics so banal they defy description. To make matters worse, we get a spine-tingling pay-off. A gorgeous closing section where a female voice breathes the song title and Blackmore strolls over the top to knock you dead. There’s enough here to inspire a rock symphony. Within 60 seconds it’s gone.
  • BLACK MASQUERADE rolls out and this is getting beyond a joke. Been there, heard that, nicked it. Frighteningly ordinary, with an incongruous few bars of flamenco work thrown in plus speeded up harpsichord a la Rat Bat Blue. Ritchie tries to regain the balance with some smooth runs but by then the whole number has outstayed its welcome. He comes over with the goods on the final few seconds but this gets faded out..
  • SILENCE. If only. The high pitched wash of reedy synth and histrionic vocals bring the horrors of latter-day Rainbow back to life. Or maybe not, it’s not even that honest. The guitar again gets lively at the end but by then the cumulative effect of the track’s mundane meanderings render it HALL OF THE MOUNTAIN KING is reasonable fun for the most part, some nifty guitar breaks, bit of orchestra. Except that Dougie then starts singing about “Tales of mystic days of old” in a frankly risible manner, making his previous lyrical offerings seem almost REM-like in comparison, and rolling his r’s like some ham actor. That aside there is at least a bit of fun and excitement here musically, which contrasts sharply with all that has gone before. The drummer has got to grips with matters, and the production has improved, but then we come to the speeded up ending which is pure music hall.
  • What is he trying to say? There’s no shame in looking to other people to bring in a bit of creativity once in a while, and there can’t be any shortage of people who could provide Blackmore with 1001 stonking ideas. I’ve followed this guy’s work now for 25 years. It’s the worst thing he’s ever done. From the unbelievable heights he scaled with his playing in ’93 to this in just two years. Frightening. There will never be a moment in my life when a voice says – dig out Stranger In Us All and have a listen to that one good track. It’s an utterly depressing feeling.
  • The tape had an extra track, EMOTIONAL CRIME, “Can’t get thru in the midnite hour” – more mould breaking lyrics and a tune to match. Blackmore threatens to get tough in the solo but it doesn’t last long. It’ll probably end up as a bonus for buyers of the Jap import . The LP was produced incidentally by Pat Regan who did the last couple of Purple albums. BMG supplied an “electronic press kit” for the CD, basically the usual biog with an 8 minute video taped interview with Blackmore. A single of Ariel is supposed to be out in Germany (incidentally Ritchie’s lady Candice Night was wheeled on to do backing vocals for this on the tour) backed with a live Temple Of The King from the tour.

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Episode #196 – Ritchie Blackmore’s Rainbow – Stranger In Us All (Part 1) with Scott Haskin

Link to video episode on YouTube: https://www.youtube.com/watch?v=5NLl2w3E508an

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    Postcards From The Edge . . . OF CONNECTICUT!

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    Lead up to the Album:

    • Young Guitar, Japan – November 1995
      • – How did you find the band members?
      • RB: We walked around the city at night, looking for musicians. We went to different bars and asked: “Can you play bass or drums? We have a place in the group “(laughs).
    • Ritchie on why he assembled Rainbow again in interview on Finnish Radiostation Metalliliitto – September 27, 1995: “I wanted to go back to the music I played when I first created Rainbow. For this, I have selected guys who can do a good job. And I was very unhappy with what I was doing at Deep Purple. This is why I wanted to build Rainbow again.”
    • On why he recruited unknown musicians in interview on Finnish Radiostation Metalliliitto – September 27, 1995: “Yes … I thought about the old guys, but not longer than a couple of seconds, because I think that I did everything I could with all of them in this style. Ronnie Dio is a great vocalist, but he is very limited in the styles that I want to hear. Therefore, I did not contact him. Some suggested Joe Lynn Turner to me. Joe is a good singer, but now he has problems with his voice. So I didn’t call him, I wanted a vocalist who could sing like Ronnie Dio and like Joe Lynn Turner and had a bluesy voice like Paul Rogers.
    • And I like working with unknown musicians, it’s kind of a protest against the system. Many people prefer to confidently recruit bands of musicians who are known to be good performers and reliable people, but I like to take risks and work with new musicians. And I like it when there is fresh blood and enthusiasm in the group. It’s nice to tour with musicians for whom this is all a novelty, who are not tired of it yet. And working with professionals who have been doing this for many years is a bit boring.”

    Core Band:

    • Bass – Greg Smith (6)
      • Has played with Ted Nugent, Alice Cooper (2), Rainbow, Blue Oyster Cult, Dokken, Vinnie Moore, Joe Lynn Turner, Wendy O. Williams
      • Young Guitar, Japan – November 1995: ”Greg Smith I saw in one bar, he was just a strong enough hard rock bass player that I was looking for. I immediately decided to take him to the group because I liked him as a person.”
      • “No (laughs)! However, when Greg brought his beer to rehearsals, I was impressed, it was an interesting, very strong beer that he brewed himself. That inspired me (laughs).” 
    • Drums – John O. Reilly
      • Played with Joe Lynn Turner, Blackmore’s Night, Trans Siberian Orchestra.
      • Young Guitar, Japan – November 1995: ”The drummer… actually, we changed him two weeks ago. The album featured John O’Reilly, a great drummer, but he has a slightly inappropriate playing style. He didn’t know how to swing, swing the way I would like… Instead of him we have now Chuck Burgie, who already played in Rainbow. As soon as Chuck joined the band, rhythms that we could not work with before became available to us, it’s amazing. He does a great job with the syncopation that I play a lot.”
    • Guitar – Ritchie Blackmore
      • Keyboards – Paul Morris
        • Played with Doro, Joe Lynn Turner.
        • Young Guitar, Japan – November 1995: “I met him about ten years ago. He got my attention back in 1981 when I auditioned keyboardists for Rainbow. But then I decided to take David Rosenthal, even though Paul showed a good result. He reminds me of Beethoven. There is a lot of fire, aggression in his playing, he is a very passionate and quick-tempered musician. This helps him a lot in self-expression, music conveys the life and emotions of a person. Sometimes he pisses me off, but he is a real musician. In Deep Purple, everyone completely lost their aggression, they had no feelings for music, and I believe that musicians should have a temperament, for a musician it is necessary. Nobody knows when he will explode, but he can play! It suits me. I also explode sometimes (laughs).”
      • Vocals – Doogie White
        • Had played with Alex Parche and Midnight blue. Went on to Yngwie, M3, and Michael Schenker.
        • Ritchie on Doogie from Stefan Wach, Gitarre & Bass, Germany – 12/1995:”Yes, no question, these guys are great musicians and have a lot of creative potential. Our keyboardist has hundreds of ideas and Dougie, our singer, is incredible. And imagine – I can have fun with a singer! (laughs) The guy can sing anything from Scottish folk songs to spontaneous blues. You can also laugh heartily at him. I’ve never had such a relationship with a singer. Ronnie (James Dio – Ed.) was also a great singer, but outside of the band he always wanted to be left alone. With him you couldn’t go to a bar and have fun. Dougie, on the other hand, is very extrovert and is always out for nonsense.”
        • Ritchie in Young Guitar, Japan – November 1995: “I heard Doogie’s voice on some recording when I was sorting through the pile of accumulated tapes. I liked his voice, and I asked my girlfriend: “What kind of tape is this?” His London phone number was written on the cassette, and we told him that we would very much like to see him in our project. Like that.”
        • On Ritchie’s criteria for choosing a singer and voice from Young Guitar: “ First of all, the singer must be a good person and sing from the heart. Let’s just say I would like the vocalist to become my voice. But it seems to me that now there are not enough good singers. Many are recruiting groups of friends! Because of this, it is impossible to listen to many vocalists, because they are only required to be good friends. It was the same with The Beatles, but they were lucky in this (laughs)! When a person does not know how to sing, and friends tell him that he has a cool voice, this will not add charm and skill to his voice. Jeff Beck, one of my idols, once said: “All singers are masturbators!” Of course, he has the right to say so – he worked with Rod Stewart! After that, I would stop working with vocalists altogether. I agree with him. It is rare to find singers who really know how to sing. So I was lucky to find Doogie.”
        • On Doogie’s melody-writing process: “He made a big contribution to the creation of the album. This surprised me. Once I played one riff to him and asked: “Can you sing along to this?” Two days later, he brought a cassette tape containing eight different vocal melodies for this song. It amazed me. “How about this? So wait, I still have another option. ” Each option was interesting in its own way. It’s not often that you meet a person who has so many good ideas. Then I realized that he could be useful to us.”

      Additional Personnel:

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      Album Art & Booklet Review

      • Photography – Frank Ockenfels
      • On the album title:
        • Ritchie on the album title from Young Guitar, Japan – November 1995: “This is a phrase from the song “Black Masquerade”, these words mean that there is an inner stranger hidden in each of us. I believe that anyone who thinks they know themselves is not really aware of themselves. I know this from myself – sometimes I myself do not understand why I did some actions, it was as if there was another person inside me in those moments. Was it me, or was it some other person? It seems to me that it has something to do with the soul. Yin-Yang, good and evil, white and black… two elements, completely opposite to each other. People often ask themselves, “Why did I do this?” This all is “the stranger in each of us” who constantly accompanies us. It is a mysterious distorted world that we cannot control.”
        • When the interviewer said he would like to meet this stranger, Ritchie responds: “I meet with him all the time. But in my case it seems to me that this is a woman. I’m looking for my man (laughs).”

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        • James North
        • Mark Hodgetts
        • Will Porter
        • Kev Roberts
        • Zwopper The Electric Alchemist
        • Percival Frequency
        • Scott Zerns

      Album Tracks:

      Side One:

      1. Wolf to the Moon (Blackmore, White, Night)
      2. Cold Hearted Woman (Blackmore, White)
      3. Hunting Humans (Insatiable) (Blackmore, White)
      4. Stand and Fight (Blackmore, White)
      5. Ariel (Blackmore, Night)
        • From Young Guitar Magazine: “I wrote this song at home, in my bar. I came up with the instrumental part, and my fiancee wrote the lyrics, she sang the chorus at the end. She has great musical ability and helped us a lot with the album. She wrote the lyrics for this song in five minutes! This is surrealism, a mermaid comes out of the sea and awakens the depths of the sea, stuff like that. As you know, I am not very good at poetry (laughs), I only listen to the texts of Bob Dylan, and the poetry of other poets does not interest me. Therefore, I respect people who can write good lyrics. At first we planned to use this song in our future medieval project. However, it sounds so good in hard rock processing, I thought it was perfect for this band and decided to include it on the album.”

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      Episode 195 – Deep Purple – Live with Joe Satriani (Saarbrücken, 1994) – Part 1

      Link to video episode on YouTube: https://www.youtube.com/watch?v=Q6enstJsJAo

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      Deep Purple – Live in Saarbrucken 1994

      https://en.wikipedia.org/wiki/Saarlandhalle

      Setlist:

      1. Highway Star
      2. Ramshackle Man
      3. Maybe I’m A Leo
      4. Fireball
      5. Perfect Strangers
      6. Pictures Of Home
      7. Keyboard Solo
      8. Knocking At Your Back Door
      9. Anyone’s Daughter

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      Bustin’ Out The Spreadsheet

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      Episode #194 – Gillan – Magic

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

      Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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      Lead up to the Album:

      • In Gillan’s book “Child in Time” Gillan describes Colin: “We were a goodish band with sufficient image and appeal that people (men and women) were even turning up at gigs looking like John, with hair shaved and stick-on beards. We had climbed from the bottom to the top and stayed with our label for over ten releases, most of which were successful.Colin was transformed from teh teraful day at Kingsway when we said goodbye to fusion rock and, on stage, the flashing bow-tie was a great sight to his sound,. Janick became and instant favourite with the fans, although the going of Bernie cropped up from time to time and seemed to still rankle a bit. Mick and I had known each other for so long. IT was mic that we should be having such a good time, most of the time.
      • Gillan goes on to talk about troubles brewing when rumors came out that Ian was in talks to reform Deep Purple. The botched 1982 attempt to reform did not end up happening.
      • Colin Towns came in number two that year just below Jon Lord as best keyboard player and they came in one above Rainbow at #6 as top band in Sounds magazine.

      Core Band:

      Additional Personnel:

      • Management – Phil Banfield
      • Producer, Engineer – Mick Glossop
        • http://www.mickglossop.com/
        • Over 700 credits on Discogs including Frank Zappa (Joe’s Garage), VAn Morrison, and many more.
        • In Kerrang! Issue 22 in August of 1982 it was stated that Gillan wanted to give up on outside producers after Double Trouble but Virgin Records persuaded him to use Glossop.

      Technical:

      • Engineer [Assistant] – Bob Broglia
        • Credited on Wizard’s Convention, Ian Gillan Band (Scarabus and Clear Air Turbulence), White Spirit (Jannick Gers connection).
      • Executive-Producer – Kingsway Recorders Ltd.

      Album Art & Booklet Review

      • Graphics – K. Ansell*
        • Art Director at The Design Clinic
        • Did covers for XTC, The Human League, UB40
      • Illustration – D. Dragon*
      1982 Magic – Gillan (L.P E.U Virgin Records 204 947)

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      Album Tracks:

      1982 Magic – Gillan (L.P E.U Virgin Records 204 947)


      Side One:

      1. What’s the Matter (Gillan, McCoy, Gers)
      2. Bluesy Blue Sea (Gillan, Gers)
      3. Caught in a Trap (Gillan, Towns)
      4. Long Gone (Gillan, Towns)
      5. Driving Me Wild (Gillan, Towns)
      1982 Magic – Gillan (L.P E.U Virgin Records 204 947)

      Side Two:

      1. Demon Driver (Gillan, Towns)
      2. Living a Lie (Gillan, Towns)
      3. You’re So Right (Gillan, McCoy)
      4. Living for the City (Wonder)
        • Released as a single before the album in reaching #55 in September, the month the album was released.
      5. Demon Drive (reprise)  (Gillan, Towns)
      1982 Magic – Gillan (L.P E.U Virgin Records 204 947)

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      1982 Magic – Gillan (L.P E.U Virgin Records 204 947)

      Bustin’ Out The Spreadsheet

      Reception and Charts:

      • They were playing a lot of shows through the autumn. One show saw them in Bangkok where Gillan got the inspiration for the song Mitzee Dupree.
      • Gossip began to run around about the disbanding of Gillan.  Ian says that “harsh words were exchanged.”  Gillan had been advised by doctors to rest his voice.
      • From Stargazer issue 26 November 1982
        • As we go to press Ian has just confirmed that the current UK tour will be his last for some time. He has had a throat problem diagnosed which needs a complete rest otherwise his voice could be permanently affected. In fact he was advised to cancel the UK tour but decided not to. The band will take a break for around a year after which he’ll see how things are.
        • I had a brief chat with lan after the Gillan show in Sheffield, and he agreed to write out a little note to explain the current situation himself (reproduced here).
        • Gillan’s Note:
          • Hello All,
          • Got a bit of a sore throat – it’ll take around 6-9 months to repair – so see you all late in ‘83. In the meantime I’ll be thinking of y’all. Think positive and send me some good vibes – I need it.
          • Love – peace + thanks
          • Ian Gillan
      • Gillan states that talks to reform Deep Purple broke down because Jon Lord was loyal to David Coverdale. Ian Paice was in between gigs. But Roger and Ritchie were tied up with Rainbow.
      • Previous stories tell the story of Gillan showing up very drunk to talks and Roger and Ritchie saying they didn’t want to deal with it.
      • The reunion would, of course, happen, but not before a brief stint with Black Sabbath.

      Reviews:

      • From Stargazer issue 26 November 1982
        • “I’ve got the new Gillan album and it’s all left me pretty fed up. The first song – ‘What’s The Matter’ works well as a set opener. ‘Bluesy Blue Sea’ has grown on me so that it’s OK rather than rubbish but it’ll be a pain live. ‘Caught In A Trap’ has a great start from lan and Colin. lan’s lyrics are head and shoulders above anyone else’s in this field. Colin’s solo too is exciting and different. ‘Driving Me Wild’ starts like a Foreigner song and seems pretty uninspired for a Gillan/Towns composition, until they reach the “what can you do” bit where things get a bit meatier with another good keyboard solo. The lyrics to ‘Demon Driver’ put me off before I’d even heard it. A good heavy beginning leads into some typical Gillan style music – the ending I can’t stand. ‘Living A Lie’ confuses me, sort of an up tempo ‘When A Blind Man Cries’ but I really miss lan’s soft vocals – which would have suited this. Overall maybe I expected too much with all those credits for Gillan/Towns tracks.” Mike Bumett.

      Merch, Etc.

      • 1982 Tour Programme
      • Picture discs

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      Episode #193 – The Deep Purple New Year’s Special (2022)

      Link to video episode on YouTube: https://www.youtube.com/watch?v=bklxGDBEL5E

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        Postcards From The Edge . . . OF CONNECTICUT!

        • A Christmas gift from Connecticut!
        • And a postcard from Connecticut via Austin, Texas!

        Deep Dive Podcast Network:

        2022 Show Highlights

        • #15 – Episode #178 – Black Sabbath – Heaven and Hell – Dollar Store Alexa
        • #14 – Episode #143 – Highway Star (Isolated Tracks) – Counterpoint
        • #13 – Episode #148 – Rainbow – Bent Out Of Shape – A Comfy Seance
        • #12 – Episode #157 – Re-Machined: A Tribute To Deep Purple’s Machine Head – Butthole on the Water
        • #11 – Episodes #175-176 – Deep Purple – The Battle Rages On… – I Don’t Care If You’re Purple
        • #10 – Episode #153 – Whitesnake – Come An’ Get It – Prehistoric Sex
        • #09 – Episode #150-151 – Deep Purple – Slaves and Masters – Legs Over Easy


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          • Scott Zerns
        • #08 – Episode #160 – The Mother’s Day Special – Whistle Voice
        • #07 – Episode #149 – Deep Purple Live in Florida (2022) – Don’t Forget Your Underwear
        • #06 – Episode #156 – Deep Purple – On The Wings of a Russian Foxbat – Peep Durple On My Mind
        • #05 – Episode #164 – Trying to Burn the Sun – Bustin For The Very First Time
        • #04 – Episode #187 – Deep Purple Live in Ostrava 1991 – My Czechoslovakian Isn’t So Good
        • #03 – Episode #158 – The Three Year Interview – John “Nightclub” Mottola
        • #02 – Episode #188 – Whitesnake – Slide It In (UK Release) – Subtlety
        • #01 – Episode #165 – The Father’s Day Special – Blackmore Tights

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        Let Glenn Hughes ring in the new year . . .

        Listener Mail/Comments

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        Episode #192 – The Deep Purple Christmas Special (2022)

        Link to video episode on YouTube: https://www.youtube.com/watch?v=sY8aQOgB5N8

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        Deep Dive Podcast Network:

        This week we’re joined by hall of famer Rich as well as Mark and Pete (The Gardow) from the 70’s Weekly Countdown with Mark and Pete podcast!  We participate in a Yankee Swap and talk about all things Christmas and Purple.

        The Gifts:

        Blackmore’s Night – “It Came Upon A Midnight Clear” (Official Lyric Video)

        Steve Morse – It Came Upon A Midnight Clear

        Glenn Hughes – Winter Wonderland

        Merry Christmas – Danorama

        Joe Satriani – Silent Night Holy Night Jam

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        • Christmas greetings from Connecticut!

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        Episode 191 – Come Hell Or High Water (Part 2: NEC Birmingham Show)

        This week’s episode is banned on YouTube. Enjoy one of our superior audio experiences listed below!

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          • Oh, you’re too kind! Deep Purple are my all-time favorite band, so when Pod Of Thunder mentioned your podcast, I couldn’t believe my luck. Happily listening through the episodes from the start. Love the show, keep doing what you’re doing. (One of the things I miss most from my younger years was sitting around & listening to full albums w/ friends. Ian Paice is the reason I started playing drums.) I wish I had some kind of cool or creative shoutout, but the best I can offer is keep up the amazing work! Best wishes from Pennsylvania,
          • Wilhelm
          • (PS had an afterthought- my old guitarist Austin would probably get a good laugh out of me discovering your podcast, because I never shut up about Purple back when we were bandmates. Anyway, take care!)
          • Oh and fun aside: my old drum teacher played w/ Yngwie Malmsteen for a few years, and Yngwie’s Blackmore worship is well-documented, so I’ll email John & see what ridiculous stories he remembers. Might be some relevant ones, who knows?

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        • Featuring a note from Rhode Island this week!

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        Setlist:

        1. Highway Star
        2. Black Night
        3. Talk About Love
        4. Twist In The Tale
        5. Perfect Strangers
        6. Beethoven
        7. Knocking At Your Back Door
        8. Anyone’s Daughter
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        1. Anya
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        7. Smoke On The Water

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        Episode #190 – Come Hell or High Water (Part 1: The Cattle Grazes On) with Jerry Bloom

        Link to video episode on YouTube: https://www.youtube.com/watch?v=Bt6n2qvCLgY

        Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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        Postcards From The Edge . . . OF CONNECTICUT!

        Deep Dive Podcast Network:

        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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        Episode #189 – Whitesnake – Slide It In (US Release)

        This week’s episode was banned on YouTube. Check out one of the fine audio alternatives below to check out this week’s epsiode!

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        Apple Podcasts Reviews:

        • Rosebud Jack – Australia
        • 5 Stars!
        • DP Podcast
        • A great review of an awesome band. Nate and John banter back and forth and cover every inch of the topic. My only complaint- Highway Star only 4 stars. Seriously? Jack

        Deep Dive Podcast Network:

        Lead up to the Album:

        • From October-November of 1983 the album was completed at Musicland with Martin Birch.
        • Hodgkinson quit the band sometime during these sessions.
        • The UK tour dates were then canceled.
        • On December 1, 1983 Neil Murray was asked to audition for the band.
        • Between December 12-15 Sykes rehearsed with the band and is confirmed as the new guitarist.
        • From January 19-28th in Los Angeles at Goodnight Studios Murray and Sykes do overdubs on the album.
        • The album would be remixed by Keith Olsen.
        • David Coverdale, from the Japanese US Remix version: “What happened was we finished the album in Europe and we were all delighted with the way it came out. However, the American record company said it was sounding European and not sounding American. Even when I said, ‘I am European”, they said, “However, we’d like it to sound American”, so I gave them carte blanche to remix in the U.S., on the condition that I could include John Sykes, who’d recently joined Whitesnake, and Neil Murray, who recently re-joined Whitesnake, and they accepted that premise. So I got what I wanted, and they got what they wanted. In essence, the difference is that you can hear the voice a lot better, and you have John Sykes and Neil Murray playing on it, whereas on the European mix, you don’t have them.”
        • John Kaloder was the first A&R executive at the newly formed Geffen Records, headed up by David Geffen. Geffen had heard Coverdale was switching management and flew Kalodner to the UK to try to recruit Coverdale for Geffen.
        • Kalodner said he worked very hard to sign Coverdale and eventually sealed the deal.  Kalodner said: “I thought they were a great commercial rock band. The problem is, that I told Coerdale, even though I really loved the other guys in the band, they weren’t as good as him. He was a superstar, and we were entering the age of Bon Jovi, you know, all of the big superstars, and I thought Coverdale’s voice and songs were better than anything.”
        • Moody: “They ended up taking a lof of Mel Galley and me off of it and putting on John Sykes. I was gone by then, so I really can’t tell you anything further.” He goes on to say, “It wasn’t the same, let’s put it that way. That band in 1983 was not the Whitesnake that I knew and loved.”
        • Moody goes on to explain that they never really tried to emulate other bands’ sound but that he could see that’s the direction they were headed.
        • John Sykes was brought in as a flashy, good-looking new guitarist in the style of popular American bands despite being British.
        • Coverdale had toyed with Michael Schenker and even Adrian Vandenberg who he offered the gig to but Vandenberg turned him down, finding success with his own band Vandenberg at the moment who had the hit “Burning Heart.”
        • Kalodner felt strongly about Sykes from his past history with Tigers of Pan Zang and Thin Lizzy and thought his writing would also be the right fit for Coverdale.
        • Kalodner talks a lot about Sykes’ appeal being his looks and hints that he would have wanted Galley out even without the injury.
        • Coverdale describes Sykes’s audition and that Cozy didn’t like him but that Coverdale kept the idea alive despite Cozy writing him off.
        • Coverdale said at this point he hadn’t really given in to the idea that they would have a “guitar hero” in the band.  He describes Kalodner as having to talk to him to tell him that no one else was in his league and he needed someone like this to complement him. He used other combos such as Jagger/Richards, Page/Plant, and Daltrey/Townshend as examples.
        • Coverdale said he was subconsciously against it because of seeing the “abuse of power that Ritchie manifested.” He was nervous to go down that path again.
        • Coverdale said when his mother first saw a picture of John Sykes she told him, “David, are you crazy? Now you’ll never get any of the girl.” “Up until then I really hadn’t thought about that, but he convinced me to get in the best shape of my life.  Getting John int he band not only revitalized us musically – he is an absolutely brilliant guitarist – but it gave us more motivation to make our stage show hot.”
        • Coverdale said he was never crazy about keyboards and Jon Lord’s role in the band was minimal in the years leading up to this.  When he said he was going back to Purple Coverdale elected to just use them to round out the sound.
        • Kalodner thought the UK version was too heavy on keyboards and wouldn’t cut it in the US.
        • Kalodner and Coverdale had a big fight as Kalodner wanted to bring someone else in to mix the album, someone aside from Martin Birch.  He suggested Keith Olsen. He goes on to describe the problems with Martin Birch’s mixes and how “un-American” they sounded.
        • Olsen first worked with Kalodner with Foreigner.
        • Neil Murray said that Sykes was very much into Ozzy and Randy Rhoads.

        Core Band:

        • Bass – Neil Murray
        • Drums – Cozy Powell
        • Electric Guitar – John Sykes
          • Had been offered the job to replace Randy Rhoads but allegedly he never heard back from Ozzy after the offer.
          • When Ozzy did get back to him he had already accepted the job with Phil Lynott to join Thin Lizzy.
        • Guitar – Micky Moody
        • Guitar, Vocals – Mel Galley
        • Keyboards – Jon Lord
        • Keyboards – Bill Cuomo
          • Worked with Steve Perry, Rick Springfield, Kenny Rogers, Steve Perry
        • Vocals – David Coverdale

        Technical:

        • Producer, Mixed By – Martin Birch
          • No “Big Ears” on this one.
        • Mixed By – Keith Olsen
          • American version by Geffen Records, completely remixed by Keith Olsen
          • This version features some different guitar solos to the European edition, with the addition of John Sykes as a third guitarist layered on top of the original guitar parts recorded by Mel Galley and Micky Moody.
          • The original bass guitar parts recorded by Colin Hodgkinson were completely replaced by returning member Neil Murray’s bass guitar parts on this version and it also includes some new keyboard parts by Bill Cuomo, differing from the original recording.
        • Mastered By – Greg Fulginiti

        Album Art & Booklet Review

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        Album Tracks:

        This version features some different guitar solos to the European edition, with the addition of John Sykes as a third guitarist layered on top of the original guitar parts recorded by Mel Galley and Micky Moody.

        The original bass guitar parts recorded by Colin Hodgkinson were completely replaced by returning member Neil Murray’s bass guitar parts on this version and it also includes some new keyboard parts by Bill Cuomo, differing from the original recording.

        Side One:

        1. Slide It In (Coverdale)
        2. Slow An’ Easy (Coverdale, Moody)
        3. Love Ain’t No Stranger (Coverdale, Galley)
        4. All Or Nothing (Coverdale, Galley)
          • Longer fade out on US version.
        5. Gambler (Coverdale, Galley)

        Side Two:

        1. Guilty Of Love (Coverdale)
        2. Hungry For Love (Coverdale)
          • Early fade out on the US version, UK version is about 30 seconds longer.john 
        3. Give Me More Time (Coverdale, Galley)
        4. Spit It Out (Coverdale, Galley)
          • Guitar intro, full band on UK version
        5. Standing In The Shadow (Coverdale)
          • Much longer fade out on the US version.

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        Bustin’ Out The Spreadsheet

        Reception and Charts:

        • The US version of the album was released on April 16, 1984, postponed from April 2.
        • The album peaked at #40 in the US on August 25, 1984.
        • The album is certified platinum in November of 1987. 2x platinum in July of 1992.
        • In 1985 the US remix would be released in the UK.
        • Allegedly when a copy of the US mix had reached David and Mel they hated it.  Mel Galley threw the cassette against he wall.  Coverdale said “It sucks” and “It’s dynamically dull, it’s lost its British bollocks.”
        • Simon Robinson goes on to describe a very long and difficult fight between the band and Geffen about the remix.

        Reviews:

        • Shortcuts
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        • Cumberland Sunday Times
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        The Final Word:

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