Category: Show Notes

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

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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Thanks to Our Executive Level Patrons:

  • The Turn it up to $11 Tier
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  • $10 “Some One Came” Tier

Patron Updates:

  • Patron UPGRADE: Anton Glaving moves to the $6.66 tier!
    • Enjoying the show more than ever.
    • I had been considering upgrading for quite a while. What sealed the deal was your deft move to quietly demote the $3 patrons from core to foundation level. I feel that it simply will not do for me to drop below the core level. Here’s looking forward to more great content from your splendid podcast. All the best!
  • Eye TwitchingDiagnosis from Dr. Breese:
    • Hi Nate and John
    • Persistent twitching eye
    • Commonest causes fatigue, stress and excessive caffeine
    • However, if persists longer than 2-3 weeks then need to see doctor as there are other rarer diagnoses which can cause this problem and may need investigating further 
    • Sorry can’t be of more help from across Atlantic 
    • Dr Gill 

Social Media Update:

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    • Kev Roberts – Paypal
    • Will Porter
    • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson

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

Thanks To Our Foundation Level Patrons:

  • $3 “Nobody’s Perfect” Tier
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  • $1 Made Up Name Tier
    • Ells Murders
    • Spacey Noodles
    • The “Insecure” Leaky Mausoleum
    • Stephen Sommerville The Concerto 1999 Fanatic
    • Raphael Choury (Raff Kaff)
    • Spike, The Rock Cat
    • JJ Stannard
    • Hank the Tank
    • Flight of the Rat Bat Blue Light

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #123 – James Gang – Miami

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

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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Thanks to Our Executive Level Patrons:

  • The Turn it up to $11 Tier
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  • $10 “Some One Came” Tier

Social Media Update:

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

Thanks to Our Core Level Patrons:

  • The $7.77 KeepItWarmRat Tier
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  • The $7.00 “No One Named” Tier
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  • $5.99 The “Nice Price” Tier
    • Fielding Fowler
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    • James North
    • Mark Hodgetts
    • Kev Roberts – Paypal
    • Will Porter
    • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson

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)

Thanks To Our Foundation Level Patrons:

  • $3 “Nobody’s Perfect” Tier
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  • $1 Made Up Name Tier
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    • Spacey Noodles
    • The “Less Than Tight” Leaky Mausoleum
    • Stephen Sommerville The Concerto 1999 Fanatic
    • Raphael Choury (Raff Kaff)
    • Spike, The Rock Cat
    • JJ Stannard
    • Hank the Tank
    • Flight of the Rat Bat Blue Light

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.”

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #122 – Glenn Hughes – Play Me Out (Bonus Tracks)

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  • Thank you to Simon Ford for the recent mug purchase!

Social Media Update:

  • Deep Dive Podcast Network
  • Apple Podcasts Reviews
    • 2021-08-02
    • Jas (only available nickname(
    • United Arab Emirates
    • 5 Stars!
    • Covers every possible detail of the DP extended family and is perfect for a diehard fan such as myself. Started off just listening to the Deep Purple/Rainbow episodes, but quickly caught on to the other stuff, which is also great. P. S. Listening to the Whoosh! revisiting made me realise that And the Address is actually played half a step lower than the original. (Originial in Em and Whoosh! version in Ebm) Keep doing what you’re doing guys! -J
  • Dead Daisies coming to Joliet, IL on September 11, 2021!

Lead up to the Album:

  • Episode #27 – Glenn Hughes – Play Me Out
  • During 1974 Glenn Hughes met David Bowie.  Angie Bowie told Hughes that David had seen him at California Jam and wanted to meet him.
  • Bowie was interested in how Glenn Hughes got into Deep Purple being more of a soul and R&B guy.
  • Bowie was present when Hughes was singing “Hold On” during the Stormbringer sessions.
  • Hughes says that for the rest of that summer he and Bowie were “inseparable.”
  • In the special edition 2 disc release it’s theorized that this album could have turned into a Hughes/Bowie collaboration or even another Trapeze album.
  • Play Me Out features a lot of lyrical content about losing his girlfriend to Jon Lord.
  • Hughes joined back up with Galley and Holland in Trapeze for a quick little US tour that was intended to precede a new studio album.
  • On the tour Trapeze performed “Space High” and “L.A. Cut Off.”
  • Things with Trapeze fell apart shortly after that and Hughes put his efforts toward the solo album.

Thanks to Our Core Level Patrons:

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    • Kev Roberts – Paypal
    • Will Porter
    • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • $3 “Nobody’s Perfect” Tier
    • Peter Gardow
    • Ian Desrosiers
    • Mark Roback
    • Anton Glaving
    • Andrew Meyer
    • Duncan Leask
    • Stuart McCord

Bonus Tracks:

  1. Smile
    • Getting Near To You
      • Recorded at Axis Sound, Atlanta, March 1978
    • Fools Condition
      • Recorded at Axis Sound, Atlanta, March 1978
    • Take Me With You
      • Recorded on DAT at Glenn Hughes’ home studio, 1994
    • She Knows
      • Recorded on DAT at Glenn Hughes’ home studio, 1994

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      • Raphael Choury (Raff Kaff)
      • Spike, The Rock Cat
      • JJ Stannard
      • Hank the Tank
      • Flight of the Rat Bat Blue Light

    Reception and Review

    • Jon Lord: “The amazing thing about Glenn was that, whatever bad state of health he was in through his addiction, his voice was always brilliant. HE always felt he could have fronted Purple, and I think he set out on ‘Play Me Out’ to show the rest of us what he could do. I always think it was also the way he wanted Purple to go after we’d recorded ‘Come Taste The Band.”
    • Play Me Out was released in July of 1977 and was not a commercial success.

    For Further Information:

    Listener Mail/Comments

    • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
    Posted on

    Episode #121 – Whitesnake – Ready An’ Willing

    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.

    Link to video on Cocoscope: https://www.cocoscope.com/watch?v=93770

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

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    Welcoming Our Newest Patron(s):

    • The $7.77 KeepItWarmRat Tier
      • Michael Vader – Upgrading from the $1 Silly Made Up Name Tier

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    • The Turn it up to $11 Tier
      • Clay Wombacher
      • Frank Theilgaard-Mortensen
      • Alan “Ain’t Too Proud To” Begg
      • Mikkel Steen
    • $10 “Some One Came” Tier

    Social Media Update:

    Lead up to the Album:

    • We discussed in our previous episode on “Lovehunter” that Paice had joined so soon after recording that Coverdale wanted to have him redo the drums on the album but time and money did not permit.
    • Bernie Marsden said Paice was coming to see them at a few shows and when he asked him why he was there he said he’d like to play drums in the band.  Dowle was out but Marsden said they weren’t getting along too well at that time.  Dowle was a city boy preferring to stay in London while the rest of the band were out in the countryside.
    • When Paice Ashton Lord imploded Paice didn’t know what to do.  He didn’t consider himself a leader enough to start his own band.
    • Murray said he had suggested Tommy Aldridge for the band at this point but no one else in the band knew who he was.
    • Paice said he’d been off not really playing anything seriously for about three years
    • Murray said that with Paice joining the band he took them in a different direction and that the same had happened with Lord the previous year.
    • Paice says that Whitesnake was “the funniest band I’ve ever been in.”  Tells story of everyone on stage laughing when David Coverdale was on stage thrusting his hips and “extending the mic stand as a part of his personage” and they looked in the crowd and only say 15 year old boys.
    • Murray says that this wasn’t a singer with a backing band, it was a band of equals.  He talks about the power behind the band.
    • Murray, Marsden, and Moody all had shirts made that said “DEEP PURPLE” but when you got closer it was revealed that they actually said “no I wasn’t in DEEP fucking PURPLE.”
    • They didn’t take kindly to the Deep Purple comparisons and rumors started to swirl about there being a Deep Purple reunion.
    • Coverdale said there was no “conscious effort” to pick up where Deep Purple left off.
    • Coverdale says that Whitesnake was always a live band and it didn’t always translate well to the album.  He says “Ready An’ Willing” was the first time they got it right and gives a lot of the credit to Ian Paice.

    Personnel:

    Technical:

    Album Art & Booklet Review

    • Sleeve [Concept] – David Coverdale
    • Photography By [Inner Sleeve] – George Bodnar
      • http://www.gbimages.com/
      • Sadly passed away in 2011.
      • Album credits include UFO, Whitesnake (Live in the Heart of the City), Gary Moore, Iron Maiden, and more.
    • Coverdale credits “The Plough” in Rusper for developing our Quasimodo impressions and Groucho Marx stoop.  This was a reference to the pub they frequented with a low ceiling and beams.  Coverdale says he is 5’8” and had to duck to avoid hitting his head.  He says many people got black eyes and cuts on their heads form banging them on the beams.

    Thanks to Our Core Level Patrons:

    • The $7.77 KeepItWarmRat Tier
      • Michael Vader
    • The Episode $6.66 Tier
      • Richard Fusey
      • Steve Coldwell
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      • Kenny Wymore
    • $5.99 The “Nice Price” Tier
      • Fielding Fowler
      • Dr. Gill Breese
    • $5 “Money Lender” Tier
      • Greg Sealby
      • John Convery
      • German Heindl
      • Adrian Hernandez
      • Jesper Almén
      • Oleksiy The Perfect Stranger Slyepukhov
      • James North
      • Mark Hodgetts
      • Kev Roberts – Paypal
      • Will Porter
      • Zwopper The Electric Alchemist
    • Tim “Southern Cross” Johnson
    • $3 “Nobody’s Perfect” Tier
      • Peter Gardow
      • Ian Desrosiers
      • Mark Roback
      • Anton Glaving
      • Andrew Meyer
      • Duncan Leask
      • Stuart McCord
    Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

    Album Tracks:

    Side One:

    1. Fool for Your Loving (Marsden, Coverdale, Moody)
      • Guitar solo – Bernie Marsden
      • Reached number 13 in the UK charts as a single
      • Reached number 43 in the UK charts and number 53 in the US Billboard Hot 100 charts
      • Would later be recorded again for Slip of the Tongue
      • Murray says he came in when they were mixing it and Ian had turned down his bass. He said he was really upset but got a call from Martin Birch in the middle of the night saying he’d corrected the mix.
      • Marsden said they’d written this for B.B. King but when they did the demo but Martin Birch decided they had to keep this one from themselves.
    2. Sweet Talker (Marsden, Coverdale)
      • Keyboard solo – Jon Lord
    3. Ready an’ Willing (Coverdale, Paice, Lord, Moody, Murray)
      • Guitar solo – Micky Moody
      • Murray says this was written while Bernie Marsden was on vacation so that’s why they came up with it without him.
      • Marsden said that Paice refused to put his name on the track because he’d get 2000 less if they did.  They talk a lot about “The Bank of Paice” and how he’d offer to lend people 20 but have them pay him back 25.
      • Normally they’d have one track on the album that everyone would get credit on but Coverdale sided with Paice on this one.
    4. Carry Your Load (Coverdale)
      • Guitar solo – Bernie Marsden
    5. Blindman (Coverdale)
      • Guitar solo – Bernie Marsden
      • Originally from David Coverdale’s solo album “White Snake” from 1977

    Side Two:

    1. Ain’t Gonna Cry No More (Coverdale, Moody)
      • Guitar solo – Micky Moody
    2. Love Man (Coverdale)
      • Guitar Solo – Micky Moody
    3. Black and Blue (Coverdale, Moody)
      • Keyboard solo – Jon Lord
    4. She’s a Woman (Marsden, Coverdale)
      • Keyboard solo – Jon Lord
    Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

    Thanks To Our Foundation Level Patrons:

    • $1 Made Up Name Tier
      • Ells Murders
      • Spacey Noodles
      • The “Untightened” Leaky Mausoleum
      • Stephen Sommerville The Concerto 1999 Fanatic
      • Raphael Choury (Raff Kaff)
      • Spike, The Rock Cat
      • JJ Stannard
      • Hank the Tank
      • Flight of the Rat Bat Blue Light

    Reception and Review

    • The first Whitesnake album to chart outside the UK.
    • Album went gold in the UK selling more than 100,000 copies.
    • Both Micky Moody and Bernie Marsden credit this album as their favorite with Whitesnake.
    • Reviews:
      • Record Mirror – “A man’s gotta do” – ouch
        • “Swaggering Coverdale, the John Wayne of heavy metal…”
        • “Just the thing to complement a sunny THusday morning, this is a glorious celebration of broken love — Coverdale sounding like a wounded bullfrog in desperate need of a mate.”
        • “Cheers, applause, take a bow. You’re good for at least another 10 years.”
      • Sounds – “Butch Bonanaza” – Geoff Barton – 4 stars
        • “Although the album’s cover’s no ‘Lovehunter’ there’s enough sexist action on the lyric front to keep our feminist freiends frothing at the mouth for some time to come, I’d say.”
        • “Whitesnake have always been the bullseye in the ‘liberated’ women’s dartboard and it’s easy to see why. Band leader David Coverdale, with his in-concert wolf howls and on-album dembads for his ‘baby’ to love him till he’s black and blue, is a frontman of the hard rocking, chest-beating gorilla archetype. A dying breed in these wimp-out days, more’s the pity, but what the hell, it’s all no-action, tongue-incheek innuendo anyway, nothing to really get hot under the collar about.”
        • The album closes with a duo of disappointments — “Black and Blue, the usual WHitesnake good-time barroom honky tonkalong and the only side to the band I actively dislike; and “She’s A Woan’, too crass over the top and straining, even for these ears.
        • But even so, well worth four stars of anyone’s typewriter.”
      • Record Mirror – Dante Bonutto – 5 +s
        • “With ‘Ready An’ Willing’ though what you expect is what you get: an album of diamon-hard rock (not HM) played with skill, verve and, above all, feel.”
        • “‘Blindman,’ a song from Coverdale’s first solo album [is] given the truly titanic treatment it deserves.”
        • “In fact the only ting I don’t care for is the sleeve which is functional rather than eye-catching. Give me a glossy gatefold with free swe-on patch and musical lawnmower offer anyday but then, I suppose, that just goes to show that you can’t always tell a book — or a record — by its cover.  +++++ and worth every one.
      • Melody Maker – Frank Worrall
        • “But I’m at a loss as to why the lyrics are so self-indulgent and childish — and more so when Coverdale follows with two effervescent songs full of poignant reflections. ‘Blind Man’ is a rueful balland accepting life’s uncertainties; ‘Ain’t Gonna Cry No More’ stoutly defies pessimistic thoughts with a dynamic change of speed in the middle.”
        • “Unfortunately the group then return to the “me-Tarzan-you-Jane” slat, closing with three songs glorifying man’s physical prowess. Again the music is classy and the content cause for concern.”
      • Chart Song Words – 4 stars
      • Cedar Rapids Gazette – Whitesnake enters prime with latest – Pan Fruehling
        • “Ready an’ Willing” is an album which shows off a superb rock band just entering its prime. Whitesnake is a group with experience and skill, with the ability to know how to use their talents with variety, taste and dynamics.”
        • “All nine tunes on ‘Ready an’ Willing’ are Whitesnake originals, and every one is a gem.  The biggest problem I have is picking out the record’s highlights, since it’s a standout album from beginning to end.”
      • Daily Press, Newport News, Virginia
        • “Ready An’ Willing strikes me as a down and dirty Blood weat And Tears without the horn section or an Englih Bob SEger and The Silver Bullet Band.”
        • “Whitesnake is a powerful band that pays attention to detail. Ready An’ Willing is nine numbers performed powerfully.”
        • “Ready An’ Willing, a strong album by a group that has to live down a celebrated past, is not a rehash of what Blackmore provided for Deep Purple. It may not be new, but the approach is for the former famous trio.”
      • Des Moines Triibune
        • “Whitesnake, the blues-based rock band featuring three former members of Deep Purple, should not be confused with the Rod Evans-led aggregation currently billing itself as Deep Purple.”
        • “We’re one of the biggest bands in Europe,” boasts the feisty, long-haired Englishman. “And we’ll be bloody frightening whent he colonies finally get a look at us.”

    For Further Information:

    Listener Mail/Comments

    • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
    Posted on

    Episode #120 – Whoosh! (Revisited!)


    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.

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

    How To Support Our Show:

    Thanks to Our Executive Level Patrons:

    • The Turn it up to $11 Tier
      • Clay Wombacher
      • Frank Theilgaard-Mortensen
      • Alan “Ain’t Too Proud To” Begg
      • Mikkel Steen
    • $10 “Some One Came” Tier

    Patron Updates:

    • A gift from Peter Gardow!

    Social Media Update:

    • Deep Dive Podcast Network
    • Apple Podcasts Reviews
      • Niels from denmark
      • 5 Stars!
      • Very entertaining♥️really fun i can laugh with you as i was in the conversations like to have a “fan talk”with you
    • Dead Daisies coming to Joliet, IL on September 11, 2021!

    Previous Reviews (First Time Reactions):

    Album Tracks (Act 1)

    1. Throw My Bones
    2. Drop the Weapon
    3. We’re All the Same in the Dark
    4. Nothing at All
    5. No Need to Shout
    6. Step by Step

    Thanks to Our Core Level Patrons:

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    • $3 “Nobody’s Perfect” Tier
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    Album Tracks (Act 2):

    1. What the What
    2. The Long Way Round
    3. The Power of the Moon
    4. Remission Possible
    5. Man Alive
    6. And the Address
    7. Dancing in My Sleep

    Thanks To Our Foundation Level Patrons:

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    For Further Information:

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    Posted on

    Episode #119 – Trapeze – Trapeze

    Link to this week’s video episode on Cocoscope: https://www.cocoscope.com/watch?v=90977

    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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    Thanks to Our Executive Level Patrons:

    • The $20 “Shades of Deep Pockets” Tier
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    • $10 “Some One Came” Tier

    Patron Updates:

    • Postcards from Hell: Notes from a purple mind Paperback
      • A journey through a man’s journey through depression, low self esteem and borderline alcoholism through to acceptance and forgiveness of himself. Using the music of Deep Purple as a reference point the book is a series of short stories explore such concepts as institutional abuse, violence, loyalty, betrayal, love, loss and death
    • Deep Purple press clippings from Australia!

    Social Media Update:

    Lead up to the Album:

    • Trapeze was the merging of two bands.  Terry Rowley and John Jones were in a band called The Montanas.  Hughes, Galley, and Holland were in a band called Finders Keepers.
    • According to Johnny Jones: In 1969 he and Terry Rowley were taking the train into London when they discussed forming a new band and talked about all the people they’d like to play with.  Terry had worked with Holland and wanted him as the drummer.  This was on a Friday and by Monday the original 5-piece lineup of Trapeze was together.
    • Hughes says that Terry was very well educated musically and he wanted to have strings and orchestrations involved a they were all very taken with what the Beatles were doing.   For that same reason they really wanted to have multi-part harmonies.
    • Jones says that Yes was also a big influence on them.
    • In the 2CD Remastered release liner notes Malcolm Dome says: “The band name Trapeze was suggested by Rowly, and immediately gave them a sense of sophistication, which was highly appropriate when you consider what the debut album sounds like.
    • Jones says he originally suggested the name “Trapezium” because he knew of a folk band called Pentangle.  Terry it is suspected suggested shortening it to Trapeze.
    • Hughes describes the first time seeing Johnny Jones at a Montanas show on stage with sunglasses on and thinking this was the first rock star he’d ever seen.
    • According to Hughes they came close to signing with Apple.  Hughes says that in the end things just fizzled out.
    • Instead of the Beatles it ended up being The Moody Blues who offered Trapeze a deal and John Lodge, the Moody Blues bassist, agreed to produce their album.
    • Like many albums at this time they didn’t have time for pre-production but they had songs written so they went into the studio and performed them.
    • Hughes says that he believes Lodge hadn’t produced anything before

    Personnel:

    Technical:

    • Producer – John Lodge
      • Of the Moody Blues
    • Research, Coordinator [Co-ordination] – John Tracy
      • Author of sleeve notes for numerous releases.
    • Coordinator [Co-ordination Assistant] – Jack Stansfield, Sue Henry
      • Jack, only credit.
      • Sue worked with Trapeze, Marianne Faithful, John Mayall.
    • Engineer – Bill Price
      • Engineer at West Essex Sound Studio
      • Worked with hundreds including Mott the Hoople, Pete Townsend and The Clash.
    • Engineer – Chris Neal (2)
      • Only a few credits in the 70s.
    • Engineer – John Punter
      • Worked with Roxy Music, Mr. Big (not that one), and Martyn Ford.
    • Engineer – Roger Quested
      • Continued to work with Trapeze, Pink Floyd (Meddle), and Cat Stevens.

    Recorded: Morgan Studios / Decca Studios, London

    (P) 1970 The Threshold Record Co. LTD., England

    Distributed By London Records INC.

    Album Art & Booklet Review

    Thanks to Our Core Level Patrons:

    • The Episode $6.66 Tier
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    • Tim “Southern Cross” Johnson
    • $3 “Nobody’s Perfect” Tier
      • Peter Gardow
      • Ian Desrosiers
      • Mark Roback
      • Anton Glaving
      • Andrew Meyer
      • Duncan Leask
      • Stuart McCord

    Album Tracks:

    Side One:

    1. It’s Only A Dream (Galley)
    2. The Giant’s Dead Hoorah! (Hughes)
    3. Over (Jones, Galley)
    4. Nancy Gray (Hughes)
    5. Fairytale – Verily Verily – Fairytale (Jones, Galley)

    Side Two:

    1. It’s My Life (Jones, Galley)
    2. Am I (Hughes)
    3. Suicide (Jones, Galley)
    4. Wings (Hughes, Rowley)
    5. Another Day (Hughes, Jones, Galley)
    6. Send Me No More Letters (Rowley)
    7. It’s Only A Dream – Reprise (Galley)

    Thanks To Our Foundation Level Patrons:

    • $1 Made Up Name Tier
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      • Hank the Tank
      • Flight of the Rat Bat Blue Light

    Reception and Review

    • The album was released in May of 1970.  The follow up album “Medusa (which we covered in Episode #40) was released in November of 1970.
    • This lineup was only together for 18 months.
    • Hughes remembers the vocal harmonies and arrangements very fondly.
    • Shortly after 

    For Further Information:

    Listener Mail/Comments

    • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
    Posted on

    Episode #118 – Captain Beyond – Live in Montreux 1972

    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.

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

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    Thanks to Our Executive Level Patrons:

    • The $20 “Shades of Deep Pockets” Tier
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    • $10 “Some One Came” Tier

    Social Media Update:

    • Deep Dive Podcast Network
    • Apple Podcasts Reviews
      • Simon Ford – 5 Stars – From the UK!
      • John and Nate, share their journey into Deep Purple plus all the roots and branches. We’ve all had those sweaty palms, thumbing through the racks to find rare imports,and memorabilia, and it’s those shared experience that I reflect on as we travel the road to Purpledom! The tone of the show is dedicated,welcoming, fun, humorous but willing to take on differing opinions, to the usual handed down rule of thumb! Keep in up fellas. From,Simon Ford,Glastonbury, U.K

    Lead up to the Album:

    • This was in April 1972 at the Rose d’or Festival. On the same bill were Gary Wright’s Wonderwheel, The Doors (without Jim, Ray took the lead vocals), Sutherland Bros.&Quiver, Lindisfarne, Claire Hamill & Amazing Blondel. More Captain Beyond footage you may see on this video (Captain starts 5:23) https://www.rts.ch/play/tv/rose-dor/video/rose-dor?urn=urn:rts:video:4061153
    • This was Captain Beyond’s debut show.

    Personnel:

    • Bobby Caldwell – drums (Johnny Winter)
    • Rod Evans – lead vocals, percussion (Deep Purple)
    • Lee Dorman – bass, backing vocals (Iron Butterfly)
    • Larry “Rhino” Reinhardt – guitar, backing vocals (Iron Butterfly)

    Thanks to Our Core Level Patrons:

    • The Episode $6.66 Tier
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      • Andrew Meyer
      • Duncan Leask
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    Setlist:

    Audio and Video Restored and Remastered by BrunoSamppa, December 2020

    April 30th 1972 – Super Pop Montreux – Swiss Broadcasting Corporation

    1. Can’t Feel Nothin’ (Part 1)

    2. As The Moon Speaks (To The Waves Of The New Sea)

    3. Astral Lady

    4. As The Moon Speaks (Return)

    5. I Can’t Feel Nothin’ (Part 2)

    6. Dancing Madly Backwards (On A Sea Of Air)

    7. Armworth

    8. Myopic Void

    Thanks To Our Foundation Level Patrons:

    • $1 Made Up Name Tier
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    Listener Mail/Comments

    • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
    Posted on

    Episode #117 – Bobby Harrison – Funkist


    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.

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

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    Thanks to Our Executive Level Patrons:

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    • $10 “Some One Came” Tier

    Social Media Update:

    Lead up to the Album:

    • Bobby Harrison was born in 1939 in London.
    • He started in the 1950s in a group called The Rockafellas.
    • In 1960s he formed the group Powerpack and put out singles in 1966 and 1967.
    • He was a founding member of Procol Harum and was in the band when they recorded their number 1 hit “A Whiter Shade of Pale.”
    • Harrison and the band’s guitarist, Ray Royer, quit shortly after that to form the band Freedom.
    • Freedom would go on to play dates with Black Sabbath, Jethro Tull, and The James Gang.  They got a lot of attention for their cover of The Beatles’ “Cry Baby Cry.”
    • This album is considered by fans to be the “missing link” between Freedom and Snafu.
    • The material on this album was originally intended to be material for Freedom.  He wanted to get more away from R ‘n’ B and more into funk.
    • Freedom’s last album was called “Is More Than A Word.”
    • In 1972 Harrison left Freedom and started collaborating with Micky Moody who was playing in “Juicy Lucy.”
    • This is considered the “missing link” between Freedom and Snafu.  Freedom’s last album was 1972.  Snafu’s first album was 1973.  This album was released in 1975.
    • Harrison: “I didn’t know really what to do after Freedom broke up, and I was approached by my management to do a solo album. So I thought, “Okay, I got all these songs floating about.”  I decided also that I could pick and choose all these musicians.
    • Harrison says that this album was ready to go but the record company shelved it for a while, that’s why it came out after Snafu was out for a couple of years.

    Personnel:

    Technical:

    Album Art & Booklet Review

    • Artwork [Photo Montage] – Greg Hodal*
      • Had done a previous release by Snafu.
    • Design [Sleeve Design Produced By] – Cream (7)
      • Designed hundreds of album covers for bands such as Gary Glitter, Snafu, Deep Purple (Made in Europe), The Troggs, George Harrison, and many more.
    • Lacquer Cut By – Wly*
      • Mastering engineer whose real name was Wallace Edward Traugott.  Did thousands of albums in the 50s, 60s, and 70s.
    • Other [Special Thanks To] – Claire & Zoey
    • According to Roger Dean there was going to be a UK release of this album with his cover art but it doesn’t appear to have been released.

    Thanks to Our Core Level Patrons:

    • The Episode $6.66 Tier
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    • Tim “Southern Cross” Johnson
    • $3 “Nobody’s Perfect” Tier
      • Peter Gardow
      • Ian Desrosiers
      • Mark Roback
      • Anton Glaving
      • Andrew Meyer
      • Duncan Leask
      • Stuart McCord

    Album Tracks:

    Side One:

    1. Cleopatra Jones (Joe Simon)
    2. Whiskey Head (B. Harrison, W. Monaghan)
    3. Thinkin’ Bout You (B. Harrison, W. Monaghan)
    4. King of the Night (B. Sergeant, B. Harrison)

    Side Two:

    1. Little Linda Lovejoy (B. Sergeant, B. Harrison)
    2. Spotlight (B. Goldberg, G. Goffin)
      • Barry Goldberg was a blues and rock keyboardist, songwriter, and record producer.
      • Worked with Al Kooper, Leonard Cohen, Maggie Bell, Muddy Waters, and Ted Neeley’s album 1974 A.D.
      • Gerald Goffin was an American lyricist and songwriter. Has over 2,000 entries on Discogs.
      • https://www.discogs.com/artist/241547-Gerry-Goffin
      • https://en.wikipedia.org/wiki/Gerry_Goffin
      • Wrote many number 1 hits including “Will You Love Me Tomrrow”, “Take Good Care of My Baby, “The Loco-Motion”, and “Go Away Little Girl.”
      • Worked with Carole King and they were married from 1959 to 1969.
      • Arranged By – John Cameron (2) (tracks: A1, B2)
      • Producer [Produced By] – Steve Rowland
    3. Long Gone (B. Harrison, M. Moody)
      • Guitar: Micky Moody
      • Keys: Matthew Fisher
      • Drums: Bobby Harrison
      • Bass: “Chrissie” Stewart
      • Harrison: “I really like that track, it’s so “spaced out” for want of a better term) it’s so laid back.  The Snafu version was much more matured, but the early one has a very special feel about it.”
      • “I wrote the lyric for it, and it’s all about going on tour.”
      • Producer [Produced By] – Bobby Harrison  & Matthew Fisher 
    4. Looking For a Friend (B. Sergeant, B. Harrison)

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    Reception and Review

    • The album was released and got to No. 76 in the Billboard charts.
    • Harrison says he never received any money from Captiol Records from the album’s release.
    • Harrison was upset doing the album with all of these incredible musicians and the label deciding not to put it out initially.
    • After this album Harrison and Moody formed Snafu which also featured Pete Solley who would also later join Whitesnake.
    • Harrison: “Bringing together a bunch of top quality players like the ones I had on this album can work out very well, but it can also be a total disaster.  I was very lucky it worked well.  WE worked at some very famous studios too, mainly at Olympic No. 1, but a few tracks were also done at Trident and Morgan.  I remember clearly doing the tracks with Tony Iommi from Black Sabbath at Morgan.
    • Snafu’s first album was the self titled “Snafu” released in 1973.
    • In the early 1980s Snafu broke up and Harrison moved to Iceland.
    • Bobby Harrison is currently in a band called Journey that plays Christian-oriented rock in Essex.

    For Further Information:

    Listener Mail/Comments

    • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
    Posted on

    Episode #116 – Ian Gillan Band – Live at the Rainbow 1977


    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.

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

    How To Support Our Show:

    Welcoming Our Newest Patron(s):

    • Arthur Smith upgrades from $5 to $6.66 tier!

    Thanks to Our Executive Level Patrons:

    • The $20 “Shades of Deep Pockets” Tier
      • Ryan M
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    • $10 “Some One Came” Tier

    Social Media Update:

    Lead up to the Album:

    • Short concert recorded on 14th May 1977 at the Rainbow in London.
    • The Rainbow:
      • The Rainbow used to be The Finsbury Park Astoria which was a large cinema complex build in the 1930s.  It had a theater and a cafe as part of the structure.  In the 1960s it began being used for rock bands, notably bands from the Stax and Volt label who performed the first ever large format American soul music show in the UK.
      • The venue closed in 1970 and was filled with guard dogs to prevent people from trying to live there.
      • Chrysalis bought the venue in 1972 and improved its acoustics so that it could be reopened as a rock venue.
      • It was renamed The Rainbow and “The Who” opened the new venue with its first show.
      • It quickly became one of the boat well renowned venues for rock music in London.
      • In 1975 Chrysalis pulled out due to the expenses needed for maintenance and new fire regulations.
      • 1975 – The theatre ran into money trouble, with Biffo facing a bill for £180,000 to keep the building in a preserved state.
      • 1976 – Hernweave, a company owned by Jamie & Lawrence Bloom, Alan Shievren & Sean Casey take over management of the theatre.
      • It reopened briefly in the 1980s but is now owned by the Universal Church of the Kingdom of God.
    • On June 30, 1972 Deep Purple played there where their noise level was recorded earning them an entry in 1974’s Guinness Book of World Records as the loudest band in the world, a fact much lamented by the members of the band.
    • On June 4, 2021 this was released on SingSong Music:
    • I was curious as to the length of the show. Was this just a short promo show or was this video part of a longer performance.  I asked Ray Fenwcik about it and he responded: “The show was edited ..a lot of the lengthy solos were shortened..it was a normal show, but Chris Blackwell CEO of Island Records was in the audience overseeing his new signing.”
    • This was indeed a full show with Strapps opening for them.
    • Ray Fenwick from the CD liner notes: “Apart from many premier rock festivals we performed at, certain “highlight concerts” come to mind, one was a two night show at The Budokan in Tokyo and the other was at the Rainbow Theatre, Finsbury Park in London.
    • “It was on the 14th of May 1977, in front of a fullhouse. We were promoting the “Clear Air Turbulence” album on Island Records; Chris Blackwell the label owner was there that night checking-out his investment!”
    • Ray Fenwick interview 4:19

    Personnel:

    • Ian Gillan
    • Ray Fenwick
    • John Gustafson
    • Colin Towns
    • Mark Nauseef

    Thanks to Our Core Level Patrons:

    • The Episode $6.66 Tier
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      • Tim “Southern Cross” Johnson
    • $3 “Nobody’s Perfect” Tier
      • Peter Gardow
      • Ian Desrosiers
      • Mark Roback
      • Anton Glaving
      • Andrew Meyer
      • Duncan Leask
      • Stuart McCord

    Video Setlist:

    1. Twin Exhausted (Intro)
    2. Clear Air Turbulence
    3. Money Lender
    4. Child in Time
    5. Smoke on the Water
    6. Woman From Tokyo
    7. Twin Exhausted (Outro)

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

    Reception and Review

    • From CD Liner Notes: “Though considered terribly unfashionable in their day, the Ian Gillan Band of the mid to late seventies remains one of the few non-NEwWave/Punk bands of the era who were able to produce music, which still remains interesting and intriguing. I suggest you offer yourself the opportunity to find out just how good they really were on stage.” — CLAES JOHANSEN

    For Further Information:

    Listener Mail/Comments

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    Posted on

    Episode #115 – Eddie Hardin – Wizard’s Convention

    Link to video on Cocoscope here: https://www.cocoscope.com/watch?v=89163

    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.

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

    How To Support Our Show:

    Welcoming Our Newest Patron(s):

    • Steve Coldwell (joined at the $6.66 tier last episode but came in right under the wire)
      • At the end of a truly terrible day, John’s “chicken and waffles” intro made me laugh out loud. THAT is what finally got me off my duff and onto Patreon.
      • I’m just happy to support the show. Unlike Pod of Thunder, where I went into it as a die-hard KISS fan (as noted by my careful use of all-caps), I’ve always appreciated Deep Purple, but know very little about their history. I actually know more about (and own all of) David Coverdale’s post-Purple adventures, so going back to the beginning is proving to be an education.
    • At the $5.00 “Money Lender” Tier
      • Tim “Southern Cross” Johnson from Australia!
    • At the $1.00 “Silly Made Up Name” Tier
      • Flight of the Rat Bat Blue Light
        • I’d like to share an anecdote.
        • I was born in 1975, and became a huge Purple fan since in 1990.
        • Sometime in the early 90s, a man came to my parents’ house to do a paint job. He was in his late 30s, so was born in 1955 or so. 
        • When he walked in the house, he heard me playing “Made in Japan” on my bedroom stereo, and so he told me that he was a huge Purple fan back in the day and had seen them in the 70s in Québec City.
        • I asked him how the show was, and he said he was disappointed because Deep Purple had tried to “do the violin thing” at some point, and somehow screwed it up, which ruined the show for him.
        • I didn’t process this right away but it stayed with me. What could he possibly mean by “doing the violin thing”, and how could thet possibly screw it up ? 
        • I thought of Jimmy Page playing with a bow in that “Dazed and Confused” 1969 TV performance, and that perhaps, this painter had mixed up his Deep Purple and Led Zeppelin show memories; after all, there were many drugs of choice in the 70s and he looked like he had been on a few of them.
        • I kept paying attention to whether Blackmore ever used a bow on stage, in everything I read on Deep Purple. and when I got online several years later, I asked the question on some newsgroups, and learned about Randy California playing that infamous Québec City show in 1972.
        • So perhaps Randy California had used a bow on stage ? Or something that looked like it.
        • So when Robert Lafontaine’s Québec City bootleg came out on YouTube I was really psyched to finally hear this “violin thing”. It never happened. However, in one of the newsclippings, a journalist says that Jon Lord pulled some violin sounds from his organ during The Mule (collections.banq.qc.ca/ark:/52327/2639102). I listened to The Mule over and over again, and I do hear indeed all kinds of sounds, but nothing that stands out like violins. I also listened to your podcast on the subject.
        • This will forever remain a mystery – unless you heard of anything along those lines.
        • A buddy of mine (also a DP fan) and I have kept this as an insight joke all these years, so it has remained very well alive.

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    A Note From Jeff Breis:

    • Butterfly Ball & Wizard’s Convention CD release from “Darker Than Blue” in 1989:
      • Originally Simon Robinson had considered doing a double album of the CD and the live concert.  The challenge was that with so many performers the royalty payments to them all would have been “financially impossible.”  He also stated that this was also an album that would have very limited interest.
      • It was decided to add “Little Chalk Blue.”
      • The decision was made to get rid of four tracks from Wizard’s Convention and feature the six tracks that featured members of Deep Purple.

    Lead up to the Album:

    • The album was written or co-wrote almost entirely by Eddie Hardin.
    • The idea was to bring in a lot of friends and session musicians and make the album feel like a jam session.
    • Eddie wanted to have a lot of different people involved to help him record rather than making this like a traditional solo album.
    • In his book, ALAB, Eddie Hardin writes of the Purple Records management putting them all up on a Yacht and hanging out in Dijon and Cannes.
    • Eddie had developed a close working relationship with John Craig during the making of The Butterfly Ball and he arranged a deal with John to begin work on a solo album.
    • Eddie had hoped to work with Steve Winwood (who he replaced in Spencer Davis Group many years previously) on the album.  Eddie confesses that Steve didn’t have any idea of this and thusly he never ended up appearing on the album.
    • In “Darker Than Blue” magazine in 1994, Eddie said:
      • “During a meeting . . . I announced that I had Steveie Winwood busting to sing the first of the songs. I can only put this down to a mental aberration since at this stage I had no new songs, and hadn’t spoken to Steve for nearly eight years.”
      • He goes on to state that Purple funded these initial recordings and that he recorded the backing tracks as he wrote them.
      • He also states that he and Roger would work about three months on the album ending each evening with a party on a yacht he had purchased which was docked nearby at St. Katherine’s Dock.
    • Eddie says that the name of Winwood seemed to snowball and get other interested until the point that you get this final product.
    • In ALAB Eddie talks about recording at Kingsway, Ian Gillan’s studio (formerly De Lane Lea) and speaks very highly about Ian as a person and as a singer.  He says, of Ian: “I really liked Ian, though always found it hard to ascertain whether he actually liked me in return.”
    • Eddie describes the album as having all the instrumentation laid down and bringing in the vocalists after the fact to lay down vocals.

    Personnel:

    Technical:

    Album Art & Booklet Review

    • In Eddie’s book he talks about having preconceived the cover: “… something along the lines of ‘A Hard Day’s Night’, with rolls of informal shots of all the musicians and singers involved. With this in mind I employed and up-and-coming socialite photographer called Corinthia [sic] West . . . who subsequently filmed the goings-on from beginning to end for a fee of £250.”
    • Eddie describes Carinthia as “Amazonian woman” who wore outrageous clothing but very little. Eddie says, “…she contorted herself into the most unusual positions to get the shots she was after. She was so sensual and frighteningly striking in appearance that not even the die-hard lecherous musicians working on the project dared make an approach.”
    • Photography By – Carinthia West
      • http://carinthiawest.co.uk/
      • Actress, model, photographer.
      • “Seventies IT girl, model, actress, journalist, photographer.”
      • Looks like she briefly joined social media (Twitter and Instagram) in 2016 then never posted again.
    • Photography By – Richard Bush (5)
      • A few other Discogs entries.
    • Original album cover
    • German reissue with wizard on front
    • 1986 (85?) UK release “Money to Burn”
    • CD reissue in 2003 remaster with new cover

    Recorded at Kingsway Recorders, London. April/May 1976 (despite excess alcohol)

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    Album Tracks:

    Side One:

    1. The Craig Song
      • From Eddie’s site here: “The first song to be recorded was ‘The Craig Song’, this was about John Craig, a friend of mine, who assisted from conception to fruition, though I think he had reservations as to when or even if the album would ever be completed.” This is contradicted in “ALAB” where he mentions that “Swanks and Swells” was the first track recorded.
      • Lyrics seem to 
      • Vocals, Piano, Written-By – Eddie Hardin
    2. When The Sun Stops Shining
    3. Loose Ends
      • He says he convinced Roger to play bass on this track but he was “extremely put out by the presence of Corinthia [sic] West . . . who was by now literally hanging from the ceiling in her quest for an interesting and unusual angle.
      • Bass Guitar – Roger Glover
      • Drums – Les Binks
      • Lead Guitar, Acoustic Guitar – Ray Fenwick
      • Piano, Backing Vocals, Written-By – Eddie Hardin
      • Vocals – Jimmy Helms
    4. Money To Burn
      • Eddie wrote this with Ray Fenwick.  He sent David Coverdale a demo and he agreed to come and sing it.  Eddie says that “Unfortunately, he re-rwote bits of it on the plane over what started out as a melodic piece turned into Barry White kind of thing.  Still, it has proven to be one of the most popular songs on the album, so what do I know?”
      • Hardin says Coverdale demanded “mood” lighting and that he wanted to hold the microphone while he sang rather than have it on a stand. From his book: “Unfortunately, the mood lighting was so moody that he couldn’t see across the room (his eyes not having been fixed at that stage). HE careered round the studio while he sang and landed in a pile of mike and music stands during the course of the performance. In case anyone doubts this, I have it on tape! Nevertheless, David had a fine voice and the results speak for themselves.”
      • He also tells the story of Louie Austin gluing grommets and rubber things onto plate with intricate designs and threading recording tape around them.  Then he’d give them names such as “Hyperbolic Thrumplethrottler Vocal Tansducer.”  These items didn’t do anything but on one occasion he was able to convince David Coverdale who’d been unhappy with his vocal sound to use it after which Coverdale was satisfied.
      • Bass – Mo Foster
      • Drums – Henry Spinetti
      • Guitar, Written-By – Ray Fenwick
      • Percussion – Mark Nauseef
      • Synthesizer, Written-By – Eddie Hardin
      • Vocals, Written-By – David Coverdale
    5. Who’s Counting On Me
      • Eddie says Mike Smith had a great voice for rock songs and he wished he’d used him on a song of his own.
      • He said Mike D’Abo took over the reproduction and began fiddling with all the faders on the mixing board which John Acock had all set up and they lost an entire day of work.
      • Backing Vocals, Guitar – Ray Fenwick
      • Backing Vocals, Written-By – Eddie Hardin
      • Bass – Mo Foster
      • Drums – Henry Spinetti
      • Piano, Percussion – Eddie Hardin
      • Vocals – Mike D’Abo, Mike Smith (16)
    6. Make It Soon

    Side Two:

    1. Until Tomorrow (Parts I-IV)
      • Eddie lists the two Glenn Hughes tracks as his favorites on the album.
      • He describes working with Glenn in his book: “Glenn was undergoing treatment in Birmingham for cocaine, alcohol and just about every other addition one could imagine. As far as I could make out, the cure consisted of simply keeping him asleep and constantly supervised during his few waking hours.
      • The  Purple office was terrified of letting him loose on a session outside of his isolated world, especially with me
      • Eddie says he was given a hard time by the office and it was suggested that he ought to find someone else to sing the tracks but he had his mind set on Glenn.
      • Eddie felt that Glenn was being totally manipulated.  He also said the irony of the situation was that Glenn was allowed drugs if it would get him through a show.
      • Eddie said that Glenn demanded whiskey and fish and chips which Eddie thought an odd combination but gave it to him and Glenn drank the shiskey straight out of the bottle.
      • He played the track for Glenn a few times and sang the melody with him.  Eddie said he sounded so good he decided to use him on the next track “Light of my Life” as well.
      • He said the sat in amazement watching him record the vocal tracks.
      • Part I
      • Part II
      • Part III
      • Part IV
    2. Light of My Life
      • Eddie lists this as one of his favorite tracks on the album.
      • Eddie says that Glenn was really happy with his performance and decided to do some harmony tracks but he’d had so much whiskey that they talked him out of it.
      • Percussion – Mark Nauseef, Pete York
      • Vocals – Glenn Hughes
      • Vocals, Written-By, Instruments [All Except] – Eddie Hardin
    3. She’s a Woman
      • Eddie describes this as a “monstrously complicated song to record.”  There were tons of edits, which you can hear if you listen.  There were several piano solos and Jimmy had vocal bits stitched together.
      • Jon Lord recorded his solo “aided by a bottle of Bells whisky.”  Tony’s solo was done with “two bottles of Bells plus a few lagers.”
      • Hardin says Ashton’s solo was a little too abstract so he brought in Rick Van Der Linden of the band Focus and they two of them shared a solo.  HE says he flew in from Holland with piles of keyboards seemingly not aware that he was only doing a sixty second solo.  However there were some interesting keyboard sounds they used on the rest of the track.
      • Bass – Mo Foster
      • Drums – Leslie Binks*
      • Guitar – Ray Fenwick
      • Synthesizer, Written-By – Eddie Hardin
      • Vocals – Jimmy Helms
      • First piano: Jon Lord
      • First piano solo: Rick van der Linden
      • Second verse piano: Eddie Hardin
      • Final piano solo: Jon Lord
    4. Swanks & Swells (Parts I & II)
      • In Eddie’s Book, “ALAB” he mentions that this is the first track they recorded for the album though he contradicts that on his website here.
      • “The second to be recorded was ‘Swanks and Swells’, this was reported at the Marquee Studios in Wardour Street with an entire Chris Barber Band and Tony Ashton’s vocal was later added at Kingsway Recorders.”
      • He describes things as having gotten a little “tetchy” between him and Pete at this point who’d joined the Chris Barber Band full time.
      • Since he used the band for the album he wanted to use a picture of Pete who asked for £1000 for permission.  Since no one else had asked for a penny Eddie left him off the cover. He says they were just happy to have Carinthia look at them even from behind the camera.
      • Eddie says he co-wrote the lyrics with Selwyn Roberts who was a close friend of Robin Nedwell, an actor on the show “Doctor.”  Selwyn came up with the title but Eddie said he’s have preferred to leave it there. He says they didn’t use much of Selwyn’s lyrics.
      • He says when he first played the backing track to Tony Ashton that “he was even more confused than usual, but after a bottle of whiskey, he threw himself into the song and came up with a unique performance.”
      • Part I
      • Part II

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    Reception and Review

    • After all the vocals were done Eddie and Chas Watkins had to stitch it all together.
    • The album was released in December of 1976 and was lost in the Christmas rush.
    • There was very little promotion and it was quickly relegated to bargain bins.
    • The inclusion of so many Deep Purple related performers made it a collector’s item.
    • In Eddie’s own words:
      • I think a point to note is that all the artistes involved are still around and working, and that counts for over a quarter of a century! EACH! Think of the bands and singers over the past few months even… who were they?
      • I look back of these sessions with great affection, it was this time that I met John Acock, the engineer, who came in the last minute replace Louie Austin who went off to engineer for The Sweet… far more important. I still work with John to this day, and have just completed two new albums with him.
      • Ray Fenwick, my friend now for nearly 30 years, plaid guitar and assisted on songs then as now. We have a tremendous bond in writing songs together though on this particular album most of the compositions are my own. You can always spot Ray’s influence when the words ‘sunshine’ or ‘stormy weather’ appear! Sorry Ray.

    For Further Information:

    Listener Mail/Comments

    • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.