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What should we call you? “Just Jon might work since I also play a Hammond C3, just not nearly as well as the real Jon. I can learn and parrot his playing but I’d never create anything that good in a lifetime. Its just a hobby and a labor of love for me, definitely not a talent! Cheers!’🥂”
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Worked on a number of albums including Guns ‘n’ Roses’s Chinese Democracy, Don Henley, Steely Dan, The Eagles, a lot of compilations and greatest hits.
Joe Satriani: “This song starts with the sound of my two Marshall half staks, cranked up at Hyde Street’s famous Studio C, where years later I would record ‘Surfing With The Alien.’ ‘Give It Up’ is a perfect example of what we thought at the time was the perfect blend of rock, punk, and new wave.”
Joe Satriani: “One of the more unusual and progressive Squares songs, with lyrics that are a bit darker than our usual upbeat message. I still find the guitar arrangement unique and intriguing, and it’s one of my favorites to play.”
Joe Satriani: “This is a great example of the band wanting to stretch and write more meaningful songs. I love John Cuniberti’s production. The backwards reverb on the acoustic guitar is awesome.”
Joe Satriani: “Great lyrics from Neil Sheehan on this track. It’s got a positive message that still rings true. Can you hear my big nod to Mott the Hoople and ‘All The Young Dudes” on that last solo?”
Joe Satriani: “This was our encore song. It was lead vocalist Andy Milton’s idea to do this song. He sang it straight while Jeff and I rocked it out fast and hard.”
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Michael Bagford – joining at the $5.99 “Nice Price” Tier – NEW PATRON ALERT!
Hi Nathan, John, and all the podcast listeners out there. I’m Michael Bagford, and I have been binging on this show for the last couple of months. Currently, I’m up to episode #46. I discovered this show after another podcast I listen to, Rock Solid, who did an episode on Deep Purple recently. It reignited a passion to listen to the band again. I saw this podcast and was happy to know that you covered all the many bands and artists that are all part of the Purple Family Tree. I’m so happy that there are detailed episodes on the Captain Beyond discography! Anyway, keep up the great work, and I’m enjoying the podcast a lot so far.
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Scott Price (became patron starting on episode #156):
@DeepPurplePod currently going through your podcasts. On the butterfly ball episode. Never listened to it before but your love for it has become infectious! How have I left it so long to listen to it?? So impressed I’ve become a patron of your show! Keep up the good work x
Brendan Ashbrook – Logo Designer
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Blackmore’s Tights! Joined last episode at the $1 Silly Made Up Name tier but here he gets his official welcome. BT writes:
Hi, I’m replying to your message on Twitter. I’m @starscreenbass, I can’t seem to find a way of messaging you on there haha
If you need a funny name instead of my actual name for the $1 tier please refer to me as “Blackmores Tights” as you’ve gotta love a man in his 70s who can still wear tights.
In purple relatedness, I’m from a town outside of nottingham (where Ian Paice was born) but I’m currently in a pub in Chiswick which I’ve just remembered is where Ian Gillan was born……how’s that for some none interesting trivia.
Currently on the butterfly ball episodes so got lots of catching up to do. Keep up the good work. Scott x
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Patron Updates:
Zwopper The Electric Alchemist:
I had a car accident a few days ago when skid the car of the road and rolled down a slope into a tree and totaled it completely. I got a severe concussion and fractured a vertibra. When I got to the hospital they found some bleedings in my brain and later today, unrelated, a shadow on the images of the brain, so I’m in for more x-ray.
Anyhoooo…
During all this time while I was under surveillance, I listened back to 40 or so episodes of your pod and it kept me in a good spirit.
Thank you so much for what you do!
Say hi to John for me!
(I’m guessing that it’s Nate who reads this.)
I will attach a photo from when I was brought in to hospital.
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This recording is approximately two weeks before the final show the band would play which lead to the breakup. For 8 years there would be no (official, anyway) Deep Purple.
Coverdale met with management after Blackmore’s departure and suggested they change their name. His ideas: Good Company, Purple, The Deeps.
The show we are about to hear was originally broadcast on the King Biscuit Flower Hour, the American radio show. It appeared in numerous forms over the years and explains why the audio quality is so good.
The King Biscuit Flower Hour was a weekly show which had also featured pefromahnces by Black Sabbath, Genesis, Jhon Lenon, The Who, The Stones, Elton John, etc.
Fans of the show called it “The Biscuit.” It had debuted in February of 1973 and was named after a radio show from the 1920s which was sponsored by the King Buiscuit Flour Co.
The runners of the show recorded things a little differently. A lot of other live radio shows would just take the mix off the sound board. The King Biscuit Flower Hour multitrakced the cecordeing and let the artists take the tapes to mix any way they’d like.
They even used to have Quadrophonic recordings as they were sponsored by Pioneer who was trying to make that the standard int he industry.
The bootleg surfaced in America in 1977. The bootleg became highly sought after due to its audio quality and the fine performance turned in by the band. It soon became a legendary release.
In 1994 Deep Purple’s management acquired the tapes and put them out the following year as an official release.
Many people familiar with the many bootlegs feel this was one of the best shows on the US tour. This is quite possibly Mark 4 in their finest form.
Album Art & Booklet Review
First version – bootleg in the 70s
“On The Wings of a Russian Foxbat” – Great Britain – 1995 Double CD
“King Biscuit Flower Hour” – US – 1995 2CD
“King Biscuit Flower Hour” – US – 1995 version 2 “In Concert” 2CD
“Live in California, Long Beach Arena, 1976” – Japan – 2003 release
“Live at Long Beach” – Remastered Great Britain – 2009
“Live at Long Beach” – Great Britain – 2009 Remastered limited edition digi-pak with bootleg art
“Long Beach 1976” – International – 2016 release
Photography used by Fin Costello in most releases.
And what about the name? “On the Wings of a Russian Foxbat.” Simon Robinson writes:
So go on then uncle simon [sic], why ‘On The Wings Of A Russian Foxbat’? Well, when that bootleg first came out, the Cold War was still raging. The U.S. military had just got wind of a new Rooskie MIG jet fighter which was said to knock the socks off anything they currently flew at the time. One day a Russian pilot defected, flying into a Japanese airport in one of the planes – codenamed “Foxbat.” ‘Of course you can have it back” came the cry, just as soon as we measure every damn nut and bolt on it! Well, that’s roughly the story. It was nearly twenty years ago, so don’t quote me.
Setlist:
Burn
Lady Luck
Gettin’ Tighter
Love Child
Smoke on the Water/Georgia On My Mind
Lazy/Homeward Strut
Many version incorrectly label this as “The Grind”
Features Organ and Drum Solos
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This Time Around
It ends with “Owed to G” but never seems to be listed as such
Tommy Bolin (Guitar Solo)
My copy says “Tomy Bolin”
Stormbringer
Highway Star/ Not Fade Away
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Reception and Charts:
They would only play four more shows on their US tour (San Bernadino, CA, Tempe, AZ [listed as ‘Tempe, CA’ in the liner notes’], Salt Lake City, UT, and Denver, CO) before a brief UK tour of five shows ending with the show in Liverpool which would be their last.
The original plan was to leave them time off to work on various solo projects after the US tour but that didn’t happen.
Official releases featured additional tracks from a partially recorded show in Springfield, Massachusetts a month earlier on January 26, 1976.
Coverdale: “
Lord:” What you had here was an astonishingly good bass player, even stoned; one of the world’s great rock drummers; and a Hammon next to the name of Mr. Hammond. I know what I was doing, I was feeling very strong with my abilities at that time. Just those three – it couldn’t have been bad. But then you get Coverdale, who was really finding himself by this time. And Tommy, playing smashing stuff. It’s not surprising that it sounds good. The only thing that held it back was that it was called Deep Purple. If it had been a new band . . . my God, it would’ve set the world on fire.”
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Between albums we had the incident in 1980 where Ritchie joined Gillan on stage after Ritchie had refused an offer to join Gillan and Gillan had refused an offer join Rainbow.
Shortly after this Ian got a call from Tim Rice asking him if he’d like to play the part of General Peron in his new musical Evita. Gillan would refuse the offer to focus on Gillan.
The band changed to the Virgin label.
They had previously been with the label Acrobat and had to front all of the money for Mr. Universe themselves. Proceeds for the new album were going to have to go to paying off their old debt.
Previously designed Ian Gillan Band’s “Scarabus” album.
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Album Tracks (UK Version):
Side One:
Unchain Your Brain (Gillan, Torme, McCoy)
Are You Sure? (Gillan, Torme, McCoy)
Time and Again (Gillan, Torme, McCoy)
No Easy Way (Gillan, Torme, McCoy)
Sleeping on the Job (Gillan, Towns)
Side Two:
On the Rocks (Gillan, Towns)
If You Believe Me (Gillan, McCoy, Torme, Underwood)
Running, White Face, City Boy (Towns)
Nervous (Gillan, Towns)
Album Tracks (US Versions):
Manufactured and Marketed by RSO Records, Inc.
This is the USA version of Glory Road that comes in embossed/raised Gillan Logo and where two of the tracks “Unchain your brain” and “Running, White Face, City boy” were switched. A5 is different from other releases. Running times as given on the label. Those slightly differ from the running times given on the European and other countries versions.
Side One:
Running, White Face, City Boy (Towns)
Are You Sure (Gillan, Torme, McCoy)
Time And Again (Gillan, Torme, McCoy)
No Easy Way (Gillan, Torme, McCoy)
Your Mother Was Right (Gillan, Town)
Sleeping on the Job (Gillan, Towns) was on the UK Version which was previously on UK version of “Mr. Universe.”
US version saw a track called “Your Mother Was Right.”
This track was included on the UK double album version’s bonus LP “For Gillan Fans Only.”
Side Two:
On The Rocks (Gillan, Towns)
In an interview with DJ Phil Easton: “It’s basically one of my little hobby horses. It’s about how I think people have generally become de-animalised in modern society, and are conditioned to do certain things from a very early age. It’s summed up in “Once you were a flying thing, now you’re on the rocks with broken wings” which sums up mankind for me at the moment. It’s a sad song, but as always, there is a bit of optimism later on.”
If You Believe Me (Gillan, McCoy, Torme, Underwood)
Unchain Your Brain (Gillan, Torme, McCoy)
Album opener on UK version.
Nervous (Gillan, Towns)
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Reception and Charts:
The album reached No. 3 in the UK album charts.
In UK it was also released as a double album with the additional “For Gillan Fans Only.”
In 1989 the album was released on CD by Virgin with some tracks from For Gillan Fans Only.
In 2007 a 19-track double album version was rereleased by Edsel. The For Gillan Fans Only CD had two bonus tracks.
Gillan says that “Glory Road” was his best work since “Machine Head.”
The second part of the double album “For Gillan Fans Only” was given away as a freebie with the first 15,000 copies.
After the album came out the press was still hounding Gillan about a Deep Purple reunion. Gillan told them they should ask David Coverdale the same thing.
After this a rumor circulated on Tommy Vance’s show (where they would later announced the official Deep Purple reunion) that reunion dates were being booked in America. This would have been a mention of Rod Evans’s failed Deep Purple revival act.
Very workmanlike, somewhat unadventurous too, with many cuts taking a similar style and level. ‘Unchain Your Brain’ is a case in point, nothing too brilliant, but enjoyable. ‘Are You Sure’ is great. The track is less cluttered than many on the album, and Ian really seems to be enjoying it. ‘Running White Face City Boy’ is another which I like, very similar to many Gillan band tracks, but has as a little more drive to it than most. ‘Nervous’ seems quite adventurous, and Ian’s throaty scream suits the track.
The extra ‘For Gillan Fans Only’ album is a rag-bag collection of items mostly unavailable before. ‘Your Mother Was Right’ is a lengthy out-take which seems a bit unfinished, but interesting ideas abound all the way through. ‘Abbey Of Thelema’ includes the flute solo which was done live, while ‘Trying To Get To You’ is an oldie from Ian’s shelved 1974-75 solo album. It has the intro edited off for some reason. Colin Towns’ ‘Dragon’s Tongue’ is great, he’ll never be out of work with stuff like this! On the whole, Glory Road and ‘son of’ have things to pick up on, but still lack the sheer impact of the Japanese Gillan album.
Darker Than Blue ran a series of fan responses for the album:
Marcus Paisley: “Not keen on the cover. Why do they keep changing the logo?”
Andrew Ellesden: “. . . side one didn’t impress me much, but side two is brilliant . . . I’d rate it higher than all Gillan’s post Purple stuff except for the Jap LP and some of Clear Air. My fave overall is “On The Rocks,” then “Nervous” . . . Ian’s singing is particularly effective.
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We English pride ourselves on irreverent humour, but you gents manage to combine an emotionally deeply sincere intent with an endless sense of irony and irreverence.
Coming in at the $1 made up name tier . . .
Sugar Tits! – NEW PATRON ALERT!
From Fielding Fowler: Upgrade time!! I think my girlfriend Sam is feeling left out with Spike and I being Patrons of the best Deep Purple Podcast out there so I added a buck for her. Her made up name will be what everyone calls her…..Sugar Tits!
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Apple Podcasts Reviews:
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mike in cle – 5 stars!
Very knowledgeable guys
They are beyond devoted to this band. You will learn something, not just about Deep Purple, but other intersecting bands as well. By their very long friendship, these two hosts will entertain you thoroughly.
Postcards From The Edge . . . OF CONNECTICUT!
Peter Gardow sends in a postcard from the Dali museum in St. Petersburg, Florida, right by where Deep Purple played in February.
Guesting on The Rock Show With Johnny Walker’s “Rock God” segment aired on the BBC here, Iron Maiden frontman Bruce Dickinson named Deep Purple vocalist Ian Gillan as his personal rock god.
You can’t talk about Iron Maiden without first mentioning Deep Purple, a group that Dickinson first heard after accidentally stumbling upon their album In Rock: “I was walking up and down the corridor at boarding school and I heard this racket coming from behind a door,” Dickinson began. “I thought, ‘Oh my god, what is that?!’ So, I knocked on the door and this senior boy opened the door and looked at me with a big sneer on his face. I asked, ‘Who was that?’. He went, ‘Oh, it’s Deep Purple if you must know, ‘Speed King’’ and shut the door. That was that, I was hooked.”
Having said all that, I met Ian Gillan. Not only did I meet him, I actually went on tour with him when I was in a band called Samson.”
“I’m in a studio,” Dickinson continues. “We’ve done an album in Ian Gillan’s studio. We’ve all been at the pub and had a few pints, in walks my god Ian Gillan and goes, ‘Hey, what a great vocalist. Who’s the singer?’ At that moment, I felt the sudden urge to vomit. I ran out of the room, puked up for about 45 minutes in the toilet when in comes my idol, kicks the door and goes, ‘C’mon, mate, out you come. Let’s get you wiped down with a towel.’ He put me in a taxi and sent me home. I’ve never forgotten that, and he’s never let me forget it, either.”
“When I was about 14 or 15, I was kind of a clueless, your usual type of teenager and I didn’t know what I wanted to do in my life. And I sort of wandered into my older sister’s bedroom to check out her albums, which were normally soul records — THE TEMPTATIONS and [other] Motown [artists]. And then I noticed she had some new records, and one of them was a DEEP PURPLE record called ‘Machine Head’. So I put the album on a little record player, and I just couldn’t believe what I was hearing. That was it, really. It sort of changed my life. I thought, ‘Well, I’d love to be out doing that one day.’ The fishing had kind of tapered off. In those days, I couldn’t imagine my heroes, like Ritchie Blackmore from DEEP PURPLE, and people like that going fishing. So I thought, ‘Well, I’ll give it up and I’ll give all my time to try and make it as a professional musician.’ So that’s what I did.”
The song Innocent Excile would ve worth listening to as an example of maiden at the Purplest sound.
Paul DiAnno auditioning en with “Lady Double Dealer” (not available to hear but, anyway)
Murders in the Rue Morgue and Lost in Hollywood drum resemblance. Clive’s and Nicko’s influence from Cozy and Paicey. Gangland another song example for this.
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This album came on the heels of the double live album “Live . . . in the Heart of the City.” That along with “Read an’ Willing” had both done very well.
The follow up, “Come an’ Get It” was recorded at Startling Studios, Tittenhurst Park.
Tittenhurst was a Georgian style country house on 72 acres of land in Berkshire.
Tittenhurst was owned by John Lennon before he sold it to Ringo Starr when he moved to the US permanently in 1973.
This is where Lennon recorded Imagine and where Marsden had just worked on a solo album.
Allegedly Lennon bought it for 145,000. He sold it to Ringo. The ex-president of the UAE bouthg it for 5 million. Sheikh Khalifa bin Zayed Al Nahyan of the UAE for $105 million
Murray says they used the studio there but it wasn’t that big so they recorded the drums and keyboards.
In Popoff’s book Bernie Marsden talks about claims of a Foreigner influence on this song. He says that he liked “Feels Like The First Time” but doesn’t think any of the other guys were even aware of the band at that point.
Hot Stuff (Coverdale, Moody)
Don’t Break My Heart Again (Coverdale)
Marsden says he did one run through of the solo and that Birch said, “Okay, that’ll do.” He said he thought he was just doing a run through. He did it five or six more times but Birch insisted that they got it. Marsden said he was like an additional member of the band being able to make great production decisions like that.
This song was about Coverdale’s daughter Jessica.
Lonely Days, Lonely Nights (Coverdale)
Wine, Women an’ Song (Coverdale, Moody, Marsden, Murray, Lord, Paice)
David, Bernie, and Micky do backing vocals. Also known as “The Three Piece Suite.”
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Side Two:
Child of Babylon (Coverdale, Marsden)
Marsden said he worked very closely with Lord on this one. He said he explain to Jon what he wanted it to sound like and Jon fleshed it out.
Marsden talks extremely positively about Jon Lord. He said he would always suggest alternative ideas that made songs better. He said that he was very gracious and he said Jon should have gotten writing credits on a lot more songs (including this one) but Jon would shrug it off and say he wouldn’t have had those ideas if the ideas brought to him weren’t so strong.
Would I Lie To You (Coverdale, Moody, Marsden)
Coverdale says this song title was from a pin a female fan of the band had given to him in Southampton.
Bernie says you’d think this was a love song but it was about their manager. I think he said it as a joke.
Popoff asked Murray if there was Coverdale’s one-track-mind as far as writing ever got to the rest of them. Murray said, “Ues amd you now, here’s tat stubborn mentality that if you criticize him for it he’ll do it more.
Girl (Coverdale, Marsden, Murray)
Coverdale says Murray wrote this from more of a fusion perspective.
Marsden said it was about a girl they saw on the side of the road.
Coverdale says: “Most of the songs are about my old lady.”
Coverdale also says that most of the songs he’s been accused of being the most sexist in are about his daughter.
Hit an’ Run (Coverdale, Moody, Marsden)
Till the Day I Die (Coverdale)
Marsden says this was the peak of David’s writing.
Reception and Charts:
Went straight to No. 2 in the UK when it was released.
Coverdale said in interviews that after five years the band was trying to enter a more American approach to the music in the early 80s.
Murray says it’s between this album and “Ready an’ Willing” that are his favorites in Whitesnake along with the 1987 but given the choice he’s probably choose “Come an’ Get It.”
Reviews:
Martin Popoff says of this album: “Sacrilege perhaps in the utterance, but this one is utterly ruined by Martin Birch and Ian Paice, two nearly unassailable rock icons who should know better.” He says this whole album seems stiff and classical in its approach.
A sampling of reviews courtesy of Jorg Planer.
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The “Peaking at #1 in the Being Uncontained Charts” Leaky Mausoleum
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Apple Podcasts Reviews:
Deep blackmore – USA – 5 Stars!
Great podcast!!!
Been a fan of deep purple for more years then I can remember recent episode for elf Carolina county ball / la59 album even if the hosts didn’t like the album this is the album that turned me on to the great Ronnie James Dio and the saw elf open for electric light orchestra and deep purple way back in 1974 in Indianapolis indiana keep up the great work
Comments about the show? Things you’d like us to cover? We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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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DP Fan in WA – USA – 5 Stars!
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Reception and Review
With Gillan out they changed the set list up quite a bit, even working in songs such as “Burn” that Gillan would have never agreed to sing.
The live set included six of the nine tracks form Slaves and Masters though “Wicked Ways” was dropped after only a few shows.
Fan reaction to this lineup and album was largely negative.
In “The Complete Deep Purple” Michael Heatley calls “Slaves and Masters” “the definitive Rainbow album.”
It entered the UK charts at number, seven places below, “Nobody’s Perfect,” which was not widely regarded as a success. Then it dropped out of the charts. It was their least successful album since Mark 1.
In the US it was number 87.
JLT says of this album in Kerrang that this album wasn’t as forced as the Rainbow albums he’d done. What he means is that they were more of jams than composed.
JLT also says, “If I hear ‘Deep Rainbow’ again I think I’m gonna puke. Think of something else. There are four of the five member of Purple, three of five members of Rainbow.”
Reviews:
The album was met with mixed reviews.
The press seemed to be largely positive about it but fans were not.
Simon Robinson in Darker Than Blue #40, November 1990:
“. . . I know damn well that if someone had sent it me out of the blue by a new group, it would have got the one play and be in the bin . . . by now.”
“With this new one it’s all ended. Nothing here demands of me that I should zoom to the record deck every so often to assault my senses with it. If this is really the way they think music should be going then we’ve reached the parting of the ways. Nobody wants to live in the past, but they’re damn well giving me little choice.”
He goes on to say he has nothing against JLT, considers him very competent. Just does not like his vocal style.
“It’s hard to listen to the album and ignore the JLT favor, but when you do much of it is pretty ordinary anyway.”
“The idea of evolving the album from jamming has given a laid back feel which might have been better tempered by a hard edge at times.”
On King of Dreams: “I’d like to hear mixed without vocals. Granted poor old Ian PAice sounds like he’s falling asleep (Maybe the dreams are his?) but it chugs along with some inspired keyboard work.”
He calls “Breakfast in Bed,” “Breakfast in Bed (Crumbs In The Duvet).
“. . . Ian Gillan has to be agreed with when he says he found it almost impossible to get inspired by the stuff when he was being sent the first demos. The addition of his talent on some of the tracks might have cracked it, but elsewhere we’re looking at a group who seem to have lost all sense of purpose. Roger Glover has written off House of Blue Light as a totally wooden album in recent press articles and it makes me wonder if I’m going crackers. Sure it had its disappointments but Bad Attitude, Spanish Archer, STrangeways, and Dead or Alive wipe the floor with this one.”
Neil Jeffries writes in Kerrang:
“Deep Purple’s new studio album “Slaves and Masters” is OK . . . and no-one is more surprised than me. It does lat grab-you-by-the-throat impact but it’s not the disaster I had feared and expected.”
It may not sound at all like “In Rock”, “Machine Head” or even “Perfect Strangers” but it doesn’t really sound much like Rainbow either. In fact just like “In Rock”, “Burn”, “Come Taste The BAnd” or “Perfect Strangers” it sounds like a band making a fresh start.
JLT: “In my opinion the best of this album is still lying on the cutting room floor. We’ve got some racks you’d fuckin’ die for but we never finished them.”
One of the things they did on tour was to open up the set list, something Gillan had also wanted to do but Blackmore had fought him on. Gillan felt like they were just playing Made in Japan every night. The set lists for this tour were much more adventurous.
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