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OSTRAVAR Aréna (previously ČEZ Aréna is located in Vítkovice, Ostrava, Czech Republic. It opened in 1986.
The capacity of the arena is 9,779, plus 16 skyboxes, making it the fourth-largest hockey venue in the Czech Republic. The rink can be converted into seating for concerts, increasing the capacity to 12,500.
This was the opening show of the 1991 Slaves and Masters tour, postponed form January 29th.
Setlist:
Intro
Burn
Black Night (incl. Long Live Rock ‘n’ Roll)
Truth Hurts
The Cut Runs Deep (incl. Hush)
Perfect Strangers
Bass Solo / Fire In The Basement
King Of Dreams
Love Conquers All
Difficult To Cure
Keyboard Solo
Knocking At Your Back Door
Lazy
Wicked Ways
Highway Star
Smoke On The Water (incl. Drum Solo & Woman From Tokyo)
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The band was taking an equal split but Gillan felt that he was the one taking the real risk.
They were scheduled to fly back from shows they were performing to appear on “Top of the Pops.”
Bernie refused to do it. The rest of the band weren’t terribly happy about it either. Gillan made ethe decision that they had to do it to support the record label.
Gillan gave the band an ultimatum and said the car was coming to pick them up and that if you weren’t in the car, you weren’t in the band.
Everyone turned up except Bernie.
Gillan phones up Phil Banfield and said asked him to find a guitar player.
Banfield found Janick but he wasn’t allowed to be on Top of the Pops because he wasn’t on the recording so they did the appearance without a guitar player.
Gillan rehearsed with Janick in the hotel room.
They rehearsed the new album in Lyme Regis in Dorset at Drake Hall (named after Sir Francis Drake).
“I think they wanted us to be more like Rainbow. In retrospect I think that was incredibly stupid because I think Gillan had a more long-term effect on what happened later in terms of thrash than Rainbow ever had.
“I joined on £30 a week and at the end of it, big tours, three top 10 albums, I was on, I think, £45 a week. There was a complete shambles about publishing. It was badly organised and to be honest I would have to say an awful lot of that was Ian’s responsibility. He was the guy in charge and he promised things he wasn’t able to do.”
An argument over an upcoming appearance on Top Of The Pops led Torme to walk away when he was told he wouldn’t be paid for it.
He adds: “I really regret how I did it, I shouldn’t have done it in that way. It was terribly negative and I love all of them.”
I’ll Rip Your Spine Out (Gillan, McCoy, Underwood)
Restless (Gillan, McCoy)
Men of War (Gillan, McCoy)
Sunbeam (Gillan, Gers, McCoy, Underwood)
Side Two:
Nightmare (Towns)
Released as a single and made it to #36 on the charts
Hadely Bop Bop (Gillan, McCoy)
Life Goes On (Gillan, Towns)
Born to Kill (Gillan, Towns)
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Bustin’ Out The Spreadsheet
Reception and Charts:
UK Chart Entry: 7 Nov 1981
Highest Position: 12
Total Weeks on Chart: 15
Reviews:
Darker Than Blue Issue 25 July 1982
GILLAN: Double Trouble. Virgin VGD 3506: UK: Oct 1981
Some of it has grown on me, and what seemed initially like a non-starter bar one track now rates somewhat higher. ‘I’ll Rip Your Spine Out’ is one of my favourites, let down only by the rather predictable synth tone in the solo. It’s ‘Men Of War’ which really slays me, and has done from the first play. The vocals soaring in and out, growling and screaming – magnificent. The guitar works well, but again I find the keyboards somewhat ordinary. The album ends with the only two Gillan/Towns compositions, of which I think I prefer ‘Life Goes On’. A marked change in style instrumentally, and some good vocals. We even get some of the Mary Longs sneaking in near the end, with a nice dramatic close. Which is more than you can say for ‘Born To Kill’. it fizzles out after such a good build up through all the different tempos etc. Certainly good stuff, Colin playing well, and I feel I’d go for it more had they not done it so well live. At times I do find myself missing the Gillan “thrash” of yore, and the mix isn’t anything to shout about, but the album certainly has more going for it than the last poor effort. Gers slots in well, only two Blackmoresque solos throughout.
The bonus live LP is a real duffer, and a poor recording (mostly from the Reading festival 1981). The sleeve artwork is crummy. Enough, what about the singles?….
From Kerrang #22 Aug 12-25 1982 entitled “If I Were A Carpenter”
In a field somewhere between London and Reading lies a tape of “Double Trouble.” A two-record set containing both live and studio material, it surpassed all previous Gillan albums in terms of overall sales. Yet a pre-release earful of the studio half (and only part of that) during a fifth-gear burn up on the M4 proved more than enough for Ian Gillan himself. The songs he liked, the mix, handled by US producer Steve Smith, he didn’t.
“I wound down the window, ripped the tape out of the cassette player and threw it away. It was…*crap*!”
There are times, even for one of rock’s most articulate spokesmen, when the simple, graphic expression carries most meaning. Clearly Ian gleans little pleasure from the memory of that album but, a pub near the Hounslow district of London being our chosen rendezvous, he can at least console himself with a pull on a pint.
“All the power was missing from it,” he continues, setting down his glass, “I just hated it. The sound was more acceptable for American audiences, I suppose, but I don’t really give a monkey’s toss about American audiences or any audience when it comes to writing the songs. Which isn’t to say I don’t care about the fans, just that, ultimately, you have to make your own judgment on music, you’ve got to be proud of what you do because you’re the one who has to live with it, be it a success or a failure.
“As far as I’m concerned the public can take me or leave me and what I do. No compromise at *any* stage at all. I’m not interested in it. I left Deep Purple for that reason, because suddenly we were beginning to do what the audience expected. Even if ‘Double Trouble’ had been multi-platinum…well, I haven’t played it since.”
In “Child in Time” Gillan writes:
About after he ditched the cassette out the car window
“A few weeks later I listened to it again and realized that I had completely missed it. How stupid I had been because it was a fine piece of progressive rock, and I don’t think I had ever felt that since early Purple days. Songs like “Restless, “I’ll Rip Your Spine Out,” Hadlely Bop Bop” “No Easy Way” and the single “Nightmare” all jumped out at me.Who said you couldn’t make a good album while on the road? Gillan were doing it with consistency while playing 200 shows a year.
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Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
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Apple Podcasts Reviews:
FrankTheilgaardMortensen
From Denmark – 5 STARS!
My favorite Podcast of all time!
The Deep Purple Podcast is by far the best podcast I’ve heard! I love the band and all the solo-outputs, projects etc. In this setting we get tons of information about the many Deep Purple and related albums/releases – and all in the company with the great hosts/friends Nate and John. If you like Purple you need to check this out! If you like music you must check this out. They deserve the 5 STARS and if you love this show like me, then you can become a patreon and support this show. Nate and John has been my friends for the last couple of years, they just don’t know it
With over 30 charting “contemporary jazz” hits since 1976, Ritenour has been busy, contributing to over 3000 sessions of jazz, rock and Brazilian music. At the age of 16, while providing guitar at his first session with The Mamas & The Papas, he was nicknamed “Captain Fingers” due to his dexterity.
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Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
A Note From Jeff Breis:
OK, great choice for a livestream, but you guys need to prepare. This is a live concert from 1972, not a pop-metal show from the 1980s. First, get a 1/2 barrel of Pabst and start drinking at 2pm. Have some other good music of the era playing in the background. When 6 o’clock rolls around, crank up this album, loud. Get into it. Make it too loud to talk over. This is an awesome album. Just dig the music, especially the 13 minute versions! This is what real rock ’n’ roll is about. Stretching out and ripping it up. Fuckin’ A, wonderful! I don’t want to see anybody sitting down!
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No video episode this week as we assumed it would be blocked. Enjoy a superior audio experience using one of the services below. https://www.youtube.com/watch?v=S_a-RE0ag94
In interview with heavymusicartwork.com: “But I guess the one I’m proudest of and really is the full package is Ozzy’s, 1981, ‘Diary Of A Madman’, the great set , brilliantly built by photographer Fin Costello’s work pixies, the ridiculous props, magic alphabets, the hand lettering, Ozzy being as drunk as a skunk at the shoot, Ozzy’s son Louis biting the head off the stuffed dove on the cover, just like daddy and of course becoming ‘THE HAND OF SATAN!!! Haaaaaaaargh!!! Yeah, I love that cover and it definitely sums up the early ’80’s.”
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Album Tracks:
Side One:
Over the Mountain (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: Title and lyrics were mine. To be fair, Ozzy’s melodies and scat singing before lyrics were written sometimes influenced what I wrote, the lyrics were written to fit his phrasing on most songs.
Daisley said Rhoads wrote the riff using eight notes but Daisley suggested going with sixteenth notes.
Daisley stated that over the years Frank Banali had been credited as coming up with the opening drums but he said there is no basis to these rumors.
Lyrics were written right before Ozzy recorded the vocal.
Flying High Again (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: The title and lyrics were mine, Ozzy may have put in a word or two again. In my book, there’s a whole story about how this song came about from an experience I had as a young lad playing in bands in Australia. The title actually came from a very ‘straight’ bloke who asked me a question about drugs.
Started off as a song called “Mean Machine” based on the vocals Lee sang during the writing process.
You Can’t Kill Rock and Roll (Daisley, Osbourne, Rhoads)
Bob Daisley: Ozzy’s title, and a few words were his but the meat and potatoes of the lyrics were mine. I wrote it about being screwed by record companies and being lied to, a premonition me thinks…
In his book “For Facts Sake,” Bob Daisley writes: “One of [the new songs] had a Pink Floyd vibe so I named it “Floydian,” which later became “You Can’t Kill Rock ‘n’ Roll.”
Believer (Daisley, Osbourne, Rhoads)
Bob Daisley: My title and lyrics. I was reading about the power of belief at the time and wanted to convey a positive message. Maybe a word or two from Ozzy and some inspiration from his phrasing but all my idea.
Randy and Daisley would joke that this bass riff sounded like “Purple haze”
Side Two:
Little Dolls (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: My title and lyrics. Again, maybe a word or two here and there from Ozzy but totally my idea. A song about Voodoo without mentioning the word. Fuck knows how I came up with that one…
Daisley says it was based on a riff he’d written in Windowmaker for a song called “Mean What You Say” while the middle eight was taken from a song he’d layed in Mecca’s single, “Black Sally” in 1969.
Tonight (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: Ozzy had originally sung ‘just a kiss before we say goodnight’ to open the song but I thought that was a bit soppy so changed the idea to someone down and out on the street. I think Lee came up with the ‘tonight’ where it ended up in the chorus but I wrote almost all the lyrics.
Daisley says this song had the working title “Just a Kiss.”
S.A.T.O. (Daisley, Osbourne, Kerslake, Rhoads)
Allegedly stands for Sharon Arden Thelma Osbourne
Bob Daisley: Not my title, Ozzy and Sharon changed it from ‘Strange Voyage’ which had been mine, to ‘S.A.T.O.’ after Lee and I were ousted. I wrote the lyrics about how life can be a strange voyage and was inspired by a Buddhist text entitled ‘A Ship to Cross the Sea of Suffering’. The S.A.T.O part is explained in my book.
The working title was “Headbanger.”
Daisley says this is the only song on the album not tuned down a semitone.
Lyrics were inspired by Buddhism
Ozzy and Sharon decided to change the title from “Strange Voyage” to this because they were both having an affair. It stood for S.A. (Sharon Adrian, her boyfriend) T. O. (Thelma Ozzy.)
Diary of a Madman (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: My title and lyrics. The title came from a movie of the same name which I’d seen starring Vincent price. When I told Ozzy about my idea he loved it and that became the title of the next album before we’d even started writing it. I wrote the lyrics about my own personal experience which I go into detail about in the book. When Randy, Lee and I first worked up the music for the song without Ozzy, he came in the next day, heard what we had and said, “Who the fuck do you think I am, Frank Zappa?”
Daisley says that at the time he wasn’t aware that some of the chord progressions weren’t entirely original. He said it borrowed from Randy practicing “Etude Number 6” by classical guitarist Leo Brouwer.
Daisley says Ozzy needed a few run throughs with Lee explaining to him how the vocals fit in to get it before he was comfortable singing it.
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Used on the original release but the artwork was subsequently lost.
Liner notes:
Joe’s Words About The Album:
Steve Vai endorsement:
When I was fourteen, I bought a guitar for five dollars. I had heard about a hot guitar teacher in my town named Joe Satriani, he was a few years older than me and went to the same school. I called him for lesions and went to his house with my $5.00 guitar and a pack of strings (for 3 years). Through Joe, I saw what true musicality was. His playing never cease to venture into unexplored realms. As a role model his attitude is totally professional but there’s always the unexpected element of surprise. His personality reflects a subtle spirituality. He’s an incredible inspiration. Love ya Joe.
–Steve Vai
1988 Reissue (Blue Transparent Joe Satriani Cover):
This is the artwork used on all releases prior to the original release from 1988 on.
The Ibanez 540S guitar used on the cover was just a prop for the shoot and Satriani says he never used it on the recording or otherwise.
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Album Tracks:
All songs written and arranged by Joe Satriani.
Not Of This Earth
The title track utilizes a unique compositional technique described by Satriani as pitch axis theory, which consists of shifting modes underneath a pedal tone (in this case, E).
This song uses a technique which Satriani calls “Pitch Axis Theory.”
The enigmatic scale was invented by a professor of music at the Bologna Conservatory, Adolfo Crescentini.
Driving at Night
Hordes of Locusts
New Day
The Headless Horseman
“The Headless Horseman” is performed entirely using a two-handed tapping technique, and was revisited in the form of “Headless” on Flying in a Blue Dream (1989).
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I was thinking, the made up name tier is all wrong for Spike and his Mom, since those are their actual names! I bumped them up to 3.33 each. Not to be outdone, I am starting the New Nice Price Tier at 6.99. Maybe my mates in the original Nice Price Tier will give in to inflation and come along for the ride! Thanks for the dedication each week!
Scott Zerns joins at the $5.00 “Money Lender” Tier
Just signed up for the 5.00 money lender tier. You guys always do an outstanding job and look forward to every Monday’s new show. Great listen to and from my job, also while jogging and doing yard work. You and John never disappoint. The knowledge and insight you both bring give me more appreciation for this band I have followed for about 40 yrs now. Always something more to learn from the show.
I plan on hopefully launching my own band dedicated podcast in the near future. Just trying to iron out the technical side of it.
Thanks again for what you guys do!!
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Ozzy left the band after reportedly being frustrated with the experimental direction they were going with the last two albums.
Osbourne was involved with early writing for the album before he left.
Sharon Arden introduced Dio to Tony Iommi.
Initially Dio and Iommi immediately clicked and toyed with the idea of forming a new band.
They played briefly with Dio on bass/vocals as Geezer was going through a divorce.
Craig Gruber also played with them on bass for a brief time. Gruber has made many claims over the years including that he co-wrote most of the songs on the album and that they reached a financial settlement.
Iommi says in his biography that Gruber recorded all of the bass parts but they were re-recorded by Butler who hadn’t heard them.
In 2009 Gruber admitted he only helped write “Die Young.”
Bill Ward considered this to be the start of a new band rather than a turning point for Black Sabbath.
The album was recorded in Criteria Studios in Miami, Florida.
It was Dio who recommended they use Martin Birch who he’s worked with in Rainbow.
It was the band’s first outside producer since Rodger Bain who produced “Master of Reality” in 1971. Iommi had produced the band’s albums since 1971.
Looking back at the addition of Dio, Butler says it wasn’t really adding Dio to the band because the band as everyone knew it “Barely existed” as a band during this time.
It seems it could have gone either way with Tony doing a solo album with Dio or Dio joining sabbath.
Core Band:
Bass, Written-By [Music], Arranged By – Geezer Butler
Drums, Written-By [Music], Arranged By – Bill Ward
Guitar, Written-By [Music], Arranged By – Tony Iommi
“MASQUE was a series of paintings with people in costumes. the SMOKING ANGELS was specifically inspired by a photo of some people backstage at a small town Christmas pageant. The painting was cropped a little on the right for the album cover. You can see the full painting in the ARCHIVE segment of www.curleeart.com.”
“They were in a jam,” recalls Curlee. “Black Sabbath were releasing the new album Heaven and Hell. The original cover-art plan was not working out, I received a call to ask if I had anything they might be able to use, since the timing was getting short.” Lynn Curlee sent them a photo of Smoking Angels; Warner Bros. sent a check!
Only credit – he drew the back cover illustration.
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Album Tracks:
All songs written by Iommi, Butler, Ward with lyrics by Dio.
Side One:
Neon Knights
Children of the Sea
Iommi claims he has a demo version of this with Ozzy singing a completely different melody and set of lyrics.
Lady Evil
Heaven and Hell
Side Two:
Wishing Well
Die Young
Walk Away
Lonely Is the Word
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Spike, The Rock Cat
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Bustin’ Out The Spreadsheet
Reception and Charts:
The album was the band’s highest charting album since “Sabotage” reaching No. 9 in the UK and No. 28 in the US).
Dio on the differences between working with Iommi and Blackmore from a 1982 intervew: “The difference really is that Tony is an all-around player. Ritchie is a brilliant, brilliant player. And he always will be. He has very good musical ideas. But to my way of thinking, he is not a member of a band. I’ve always been a band-oriented musician. Tony is a team player. Tony caares about me, he cares about Vinny, he cares about Billy, and we all feel the same way. Ritchie really only cares about himself. I’m trying not to make this a derogatory statement. The man hasn’t said any bad things about me and it’s not in my constitution to use the press to say anything bad about Ritchie. I had a good relationship with him; he’s a fine player and I wish him all the success in the world.
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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