Category: Show Notes

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The Battle of Slaves and Masters Tracks

• The Battle of Slaves & Masters
• Ramshackle Man (1’44”)
• A Twist in the Tale (4’14”)
• Anya (6’30”)
• The Battle Rages On (instrumental) (2’27”)
• The Battle Rages On (Demo) (5’45”)
• Lick It Up (3’31”)
• Solitaire (3’01”)
• Fire In The Basement (4’08”) – this is an instrumental take with great Lord Hammond solo.
• Fortuneteller (4’28”) aka Love Me Like You Do
• Jam Session #1 (3’47”) aka Another Way (Beautiful Lady)

• Slow Downs Sister (Instrumental) (5’22”)
• Jam Session #2 (1’01”)

• Jam Session #3 (6’54”) aka RARE JAM SESSION-HEAVY GUITAR RIFF-SLOW DOWN SISTER? The track is actually two tracks and a Slow Down Sister jam is the basis of the last couple of minutes
• DEEP PURPLE – RARE JAM SESSION-HEAVY GUITAR RIFF-SLOW DOWN SISTER?- SLAVES & MASTERS
• King of Dreams (acoustic from radio show) (4’50”)
• Others (possibly from Demos in the Basement or Slaves & Masters Jammin’)
• Breakfast in Bed (different very rough lyrics) (4’24”)

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• The Long Goodbye (4’05”)
• DEEP PURPLE – THE LONG GOODBYE – VERY RARE-SLAVES & MASTERS OUTAKE.
• Like A Hurricane (7’48”)
• DEEP PURPLE-VERY RARE- ROCK LIKE A HURRICANE-JAM-AWESOME!
• Rocking Tonight (Like a Hurricane) (6’58”)
• DEEP PURPLE-VERY RARE- ROCKING TONIGHT (LIKE A HURRICANE)
• Your Love is Something (7’55”)
• DEEP PURPLE-VERY RARE- YOUR LOVE IS SOMETHING-JOE LYNN TURNER
• King of Dreams (instrumental) (2’52)

• Wonderful-Beautiful Instrumental Jam (7’35”)

• Like A Hurricane/Breakfast in Bed/Your Love Medley 29’42” (seen on CD sleeve but not found)
• Also Unreleased Song #1, #2 and #3 which may be The Long Goodbye etc above

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The Deep Purple Podcast

Show Notes

Episode #290

Whitesnake – Into The Light:The Solo Albums

November 4, 2024

Introduction Script:

Welcome to the Deep Purple Podcast, the first and only podcast devoted to one of the greatest bands in rock history — Deep Purple.  Today’s episode is [ — EPISODE #, EPISODE TITLE — ], and coming to you from the suburbs of Chicago I’m your host, Nathan Beaudry.

Link to video episode on YouTube: 

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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<center></center>

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Brendan Ashbrook – Logo Designer

New Patron/Patron Upgrades:

• hh

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Patron Updates:

• Hh

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• Deep Dive Podcast Network

Postcards From The Edge . . . OF CONNECTICUT!

• hh

Show Review

• hh

Hall of Fame Presentation:

• hh

Lead up to the Album:

• hh

Core Band:

• hh

Additional Musicians:

• hh

Technical:

• hh

Album Art & Booklet Reew

• hh

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• Cynthia Dube
• Raff Kaff
• Coyote Bongwater
• John Miceli
• Sarah Sanders
• Jellybean
• Evan Robison

The Venue:

Setlist

1. hh

Album Tracks:

Side One:

1. hh

Side Two:

1. hh

Album Tracks:

1. hh

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• I see DC
• Durple Purple
• Purple Swede
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• Eddie Lion

Bustin’ Out The Spreadsheet

Reception and Charts:

• hh

Reviews

• hh

Merch, Etc.

• h

For Further Information:

• https://whitesnake.com/into-the-light-solo-albums/

Extra Thanks To:

• hh

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.

Meatballs

Another thing – ??

George lucas

Old man of the mountain

Meatballs

Online casinos

First in flight

Abraham lincoln

Larry Fine

Shemp

Alternate covers

Davdi’s version

hornies

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Lead up to the Album:

• Tom Galley spearheaded this project which took two years to complete.  His goal was to bring this forward as a concept album using music, words, film, and painting.
• He paired with a painter, Ian Lowe, to illustrate the songs on the album.
• A promo video was made to act as a trailer for the single “Dance With The Devil” in Europe.
  • Phenomena – Dance with the Devil
• For the US they made a video for “Kiss Of Fire.”  In Kerrang they said they were unsure whether it would be this track or “Still The Night.”
  • Phenomena Kiss Of Fire 1985
• They also announced in Kerrang that they were working on a 70-minute long form video. This doesn’t appear to ever have been completed.
• Tom Galley talks about there being a large number of cinemas where he grew up in Staffordshire, his mother working at one.
• Galley mentions movies such as “This Island Earth” (1955), “The Day The Earth Stood Still” (1951), and “Jack The Giant Killer” (1962) referencing them as classics.
• He was always into science fiction and fantasy adventures more than war movies or westerns.
• He references American culture’s input into movies being an influence as well.
• He also references E.T., Raiders of the Lost Ark, and Stephen King’s Dead Zone.
• Galley began scripting a storyboard for his ideas.
• Presented are nine songs which each encapsulate one of the fantasies or visions related to the songs.
• The plot is described in Kerrang as such:
  • The story concerns Professor Limit who has constructed a machine capable of transmitting telepathic energy created by the brain, aided by his nine-year-old daughter, Lucy, a natural telepath (the girl is actually the daughter of Limit’s wife and his former lab assistant, Chasen!). When the military becomes unhealthily interested in his experiment Limit seeks help from an influential friend called Frame to whom he demonstrates the machine’s power. In a further experiment Limit is killed and Lucy becomes inseparably linked to the machine. Frame calls on her natural father, Chasen, to rescue the girl by linking himself to the machine and leading her out of the world of fantasy into which she has plunged. The nine songs represent various confrontations through which they pass.
• Galley mentions the mirror scene in “Enter The Dragon” as a visual inspiration for the confrontation that Lucy has.
• The confrontations occur during the nine songs, each as a different struggle between good and evil.
• Tom said he thought the process would take a long time working with the people he was working with. He didn’t want to duplicate “War of the Worlds” and wanted to start looking at it in an audio/visual light.
• He felt himself getting carried away with the long form video so he enlisted Pete Winkleman of Arista Records who was interested in the project, Pete guided him to take it one step at a time.
• It mentions in the second issue of Kerrang that people such as Cozy Powell and Don Airey are not likely to be kicked out of their respective bands (ELP and Alaska) if the album isn’t a success. Tom Galley, on the other hand, is described as having his “every possession (house, wife, cat, record collection) has been placed in hock over the last couple of years in order to keep the project alive before a record company was prepared to step in and take up the financial reins and responsibilities.”
• They mention that the success of a future movie, etc. are dependent on how the album sells.
• Galley says he’d approached Ozzy Osbourne about doing the album and that he was going to do it but there was always some problem.

Technical:

• Engineer [Assistant, Mixing] – Dave Kemp*
  • Worked with Uriah Heep.
• Engineer [Recording, Air Studios] – Jon Jacobs (tracks: A2)
  • https://www.the-paulmccartney-project.com/artist/jon-jacobs/
  • Worked with Geoff Emerick, George Martin, and Paul McCartney.
• Engineer [Recording, Magritte Studios] – Dan Priest (tracks: B2)
  • Producer. Worked with Paul Rodgers
• Engineer [Recording] – Paul Robbins (2) (tracks: A1, A3 to B1, B3 to B5)
  • Worked with Roger Chapman and Trapeze.
• Mixed By – Jon Jacobs
• Producer, Mixed By, Concept By – Tom Galley
• Recorded At – The Old Smithy Recording Studio
• Recorded At – Britannia Row Studios
• Recorded At – The Chocolate Factory
• Recorded At – Magritte Studios
• Recorded At – Air Studios
• Mixed At – Roundhouse Studios

Album Art & Booklet Reew

• Artwork [Front Cover] – Icon (21)
  • Founded by Andrew Chapman
  • Album Covers for Radiohead (Pablo Honey), Pink Floyd (Momentary Lapse of Reason), Abba (Gold), Krokus, The Who, Deep Purple’s Nobody’s Perfect.
• Artwork [Front Cover], Design [Book] – Richard Evans (7)
  • https://www.rdevans.com/
  • https://en.wikipedia.org/wiki/Richard_Evans_(designer)
  • Worked with Gentle Giant, The Who, Pink Floyd (Dark Side of the Moon, Animals), 
• Painting – Ian Lowe (2)
  • Did a previous album cover for Wishbone Ash.
  • https://www.marineartists.co.uk/Artists/__IAN_LOWE_(British,_Contemporary)__/20129/artist.aspx

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  • Cynthia Dube
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  • John Miceli
  • Sarah Sanders
  • Jellybean
  • Evan Robison

Album Tracks:

Side One:

1. Kiss of Fire (T. Galley, Bailey)
   • Vampirism; the ability of some creatures, terrestrial or alien, to hypnotize or entrance their captives in order to make their kill. The protagonist needn’t be a vampire as such, however.
   • Backing Vocals – Alison McGinnis, Pete Green*
     • https://en.wikipedia.org/wiki/Peter_Green_%28musician%29
     • Founding member of Fleetwood Mac
   • Bass – Neil Murray
   • Drums – Cozy Powell
   • Guitar – John Thomas (6)
   • Keyboards – Richard Bailey (3)
   • Lyrics By, Songwriter – Tom Galley
   • Songwriter – Richard Bailey (3)
   • Vocals – Glenn Hughes
2. Still the Night (Hughes, Thrall, Delph)
   • A conglomerate of all the different phenomena under investigation.
   • Backing Vocals – Pete Green*
   • Drums – Ted McKenna
     • https://en.wikipedia.org/wiki/Ted_McKenna
     • Worked with The Sensational Alex Harvey Band, Rory Gallagher, The Michael Schenker Group, Gary Moore, and many more.
   • Guitar – John Thomas (6), Mel Galley
     • https://en.wikipedia.org/wiki/Paul_Delph
     • Guitarist with Budgie and Voivod
   • Keyboards – Robin Smith
     • https://www.robin-smith.co.uk/
   • Songwriter – Pat Thrall, Paul Delph
     • https://www.pauldelph.com/
     • Worked with Suzi Quatro, Alice Cooper
     • Sadly passed away in 1996.
   • Vocals, Bass, Songwriter – Glenn Hughes
3. Dance with the Devil (T. Galley, M. Galley, Bailey)
   • The Dance of St. Vitus. Many evocations of spirts, demons and devils throughout the world begin with a ritual dance that builds to a frenzied crescendo.
   • Backing Vocals – Alison McGinnis, Pete Green*
   • Bass – Neil Murray
   • Drums – Cozy Powell
   • Fiddle – Rick Sanders*
     • https://en.wikipedia.org/wiki/Ric_Sanders
   • Guitar – John Thomas (6)
   • Guitar, Songwriter – Mel Galley
   • Lyrics By, Songwriter – Tom Galley
   • Songwriter – Richard Bailey (3)
   • Vocals – Glenn Hughes
4. Phoenix Rising  (T. Galley, M. Galley, Bailey)
   • Spontaneous human combustion. There have been numerous reports of such events, as if the soul itself had suddenly ignited from within to destroy the physical body.
   • Backing Vocals – Alison McGinnis, Pete Green*
   • Bass – Neil Murray
   • Drums – Cozy Powell
   • Guitar, Songwriter – Mel Galley
   • Keyboards, Songwriter – Richard Bailey (3)
   • Lyrics By, Songwriter – Tom Galley
   • Vocals – Glenn Hughes

Side Two:

1. Believe  (T. Galley, Bailey)
   • Exorcism. Here the conflict involved is contained within one body, the self wrestling against the evil spirit that attempts to claim possession of the body.
   • Backing Vocals – Alison McGinnis, Pete Green*
   • Bass – Neil Murray
   • Drums – Cozy Powell
   • Guitar – John Thomas (6)
   • Keyboards, Songwriter – Richard Bailey (3)
   • Lyrics By – Tom Galley
   • Vocals – Glenn Hughes
   • Vocals [Boy Soloist] – Neil Willars
     • Only Phenomena entries on Discogs
2. Who’s Watching You  (T. Galley, M. Galley)
   • Ghosts and spirits. Just like “Ghostbusters” – the humans watching the ghosts haunting the humans!
   • Drums – Ted McKenna
   • Guitar, Songwriter, Backing Vocals – Mel Galley
   • Keyboards – Don Airey
   • Lyrics By, Songwriter – Tom Galley
   • Vocals, Bass, Backing Vocals – Glenn Hughes
3. Hell on Wings (T. Galley, M. Galley, Bailey)
   • The Battle Of The Somme. Where a beleaguered force of British troops are said to have been led to safety, away from the battle zone, by the appearance of a group of angels. The apparitions are seen in particular at sites of great destruction and devastation.
   • Backing Vocals – Alison McGinnis, Pete Green*
   • Bass – Neil Murray
   • Drums – Cozy Powell
   • Guitar, Songwriter – Mel Galley
   • Keyboards, Songwriter – Richard Bailey (3)
   • Lyrics By, Songwriter – Tom Galley
   • Vocals – Glenn Hughes
4. Twilight Zone (T. Galley, Bailey)
   • (it sez ‘ere) ‘David Stride, aged 25, Outlander . . . Mother and Father killed by Trigon’s Guards . . . raised by Chinese grandfather from the age of three . . . The terrain is hostile, barren and rocky. Inside the city the buildings are dark, dank and decaying the streets are run-down and strewn with litter.’ This one still has me foxed.
   • Backing Vocals – Alison McGinnis, Paul Robbins (2), Pete Green*
   • Bass – Neil Murray
   • Drums – Cozy Powell
   • Guitar – John Thomas (6), Mel Galley
   • Keyboards, Songwriter – Richard Bailey (3)
   • Lyrics By, Songwriter – Tom Galley
   • Vocals – Glenn Hughes
5. Phenomena (T. Galley, Robbins)
   • The final optimistic choral triumph of good over evil.
   • Arranged By [Choral Arrangements], Songwriter – Paul Robbins (2)
   • Choir – Midland Boys Singers
   • Keyboards – Richard Bailey (3)
   • Lyrics By, Songwriter – Tom Galley
   • Music Director [Musical Director] – Alvena Grant, Peter Grant (4)
     • Only credits are on Phenomena releases
   • Vocals [Solo Vocalist] – Neil Willars

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

Thanks To Our Foundation Level Patrons:

• £3.50 “Deep Purple NY” Tier
  • Lord Longford
• The £3 “The Aromatic Feed” Tier
  • Simon Ford
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• The $3.33 Half Way to Evil Tier
  • Stephen Sharpe
  • Duncan Leask
• $3 “Nobody’s Perfect” Tier
  • Peter Gardow
  • Ian Desrosiers
  • Mark Roback
  • Stuart McCord
  • Flight of the Rat Bat Blue Light
  • Øyvind Fjeldbu –
  • Runar Simonsen –
  • Ruinous Inadequacies
  • Corey Morrissette
  • Ashely { Still I hear, “Burn” } Rose
  • Weston-super-Mare pilgrim
  • Joe “Dopefish” Siegler
• The $1.71 “I Want My Own Tier” Tier
  • Rich “Yngwie” Shailor
• The 10 kr “” Tier
  • Carsten Lau
• $1 Made Up Name Tier
  • The “Who’s Watching Goo” Leaky Mausoleum
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  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Blackmore’s Tights
  • Steve “Down to Earth” Koeller
  • Zwopper The Electric Alchemist
  • Anders Engstrom
  • I see DC
  • Durple Purple
  • Purple Swede
  • David Hattam
  • Graham Bonnet’s Disco Pants and Haircuts
  • Eddie Lion

Bustin’ Out The Spreadsheet

Reception and Charts:

• Oddly the only mention this album gets in Glenn Hughes’s autobiography is in the discography section.
• Kerrang lists this album as the most ambitious project since Hawkwind’s “Space Ritual” or Pink Floyd’s “The Wall.”

Reviews

• https://www.allmusic.com/album/phenomena-mw0000766750?1689813539412
• Phenomena Review by Greg Prato
• Supergroups have been common in the realm of hard rock for decades — some have worked wonders (Cream), while some, well, stunk (too many to mention). One of the more obscure ones to surface was the ’80s outfit Phenomena, who debuted in 1985 with a self-titled release, and featured contributions from the likes of Glenn Hughes (Deep Purple), Don Airey (Ozzy Osbourne), and a trio of ex-Whitesnake members — Mel Galley, Neil Murray, and Cozy Powell. Those expecting tough, rip-roaring heavy metal may be a bit disappointed by the album (which features a cover shot of a young girl quite reminiscent of Linda Blair circa The Exorcist). Keep in mind — the mid-’80s was the era of polished, keyboard-heavy, melodic rock, and Phenomena fit in with the musical climate, especially on such tracks as the album-opening “Kiss of Fire” and “Still the Night.” If GTR could have scored a hit or two around this time, with the right push, there’s no reason why Phenomena couldn’t have also.

For Further Information:

• https://en.wikipedia.org/wiki/Phenomena_(Phenomena_album)
• https://www.discogs.com/release/519266-Phenomena-Phenomena
• Kerrang No 97 – June 27 to July 10 1985
• Kerrang No 98 – July 11-24 1985
• http://www.deep-purple.net/tree/glenn-hughes/glenn-hughes-1.html
• https://www.allmusic.com/album/phenomena-mw0000766750?1689813539412
• https://www.allmusic.com/artist/phenomena-mn0000335359#biography
• https://web.archive.org/web/20050210195321/http://www.phenomenamusic.co.uk/page4.htm
• https://www.45worlds.com/vinyl/album/207044

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Postcards From The Edge . . . OF CONNECTICUT!

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Show Review

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Hall of Fame Presentation:

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Lead up to the Album:

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  • 
    

Core Band:

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Additional Musicians:

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Technical:

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Album Art & Booklet Reew

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The Venue:

Setlist

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Album Tracks:

Side One:

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Side Two:

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Album Tracks:

1. Push! (Hughes)
   • Guitar – Pat Thrall
   • Keyboards – Marc Hugenberger
   • Producer – Glenn Hughes
2. She Love Your Money (Hughes, Allison, Gowdy)
   • Guy Allison
     • http://guyallison.net/
     • https://en.wikipedia.org/wiki/Guy_Allison
   • Producer – Bruce Gowdy, Glenn Hughes, Pat Thrall
   • Rhythm Guitar – Pat Thrall
   • Soloist, Guitar – George Nastos
3. Speak Your Mind (Hughes, Rojas)
   • Guitar – George Nastos
   • Keyboards – Carmine Rojas, Marc Hugenberger
   • Producer – Glenn Hughes
4. Maybe Your Baby (Wonder)Talkin’ To Messiah (Gowdy, Hughes)
   • Drums, Percussion – Matt Sorum
   • Guitar – Bruce Gowdy
   • Keyboards – Bruce Gowdy
   • Producer – Bruce Gowdy, Glenn Hughes, Pat Thrall
   • Marc Fevre:Matt Sorum recording the drum part for “Talkin’…,” which had originally been built around a rhythm track that Glenn and Bruce Gowdy had worked out on a drum machine. It was a tricky piece, with some intricate time breaks, and Matt had to not only learn them all, but to embellish them as well. Obviously he did a great job, though, as the finished track will testify.
   • “(Glenn and Matt checking out Matt’s final take on ‘Talkin To Messiah’.”) I remember sitting with Glenn in the control booth for part of this session, watching him watch Matt. Matt was such a nice guy, and Glenn was so pleased to have him play on that song, to have him appear on the album, just to have him around, that at one point he turned to me, smiling, and said: “Marc, you’ve got to get lots of pictures with Matt. Lots of pictures.”
5. 
   
   • Keyboards – Greg Phillinganes
   • Producer – Glenn Hughes
   • Rhythm Guitar, Soloist, Guitar [1st Solo] – Pat Thrall
   • Soloist, Guitar [End Solo] – George Nastos
6. Holy Man (Coverdale, Hughes, Lord)
   • Guitar – George Nastos
   • Keyboards – Marc Hugenberger
   • Producer – Glenn Hughes
   • (“Gary and Glenn recording the rhythm section to ‘Holy Man [’95]’.”) What a team! The guys cut the rhythm tracks on this song live and in one take, too! Believe it or not, Glenn hadn’t played this number since 1974 or 75, and so he’d had to spend a couple of minutes before this session holed up in the control booth with Gary Ferguson listening to the original version off of the “Stormbringer” album a few times before going into the recording chamber, plugging in, and whipping this one out. Looking back on it, I remember how impressed we were, not only with Glenn, but with Gary as well, at how professional he was, building and then playing his parts with speed and efficiency. He was amazing really.

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Bustin’ Out The Spreadsheet

Reception and Charts:

• hh

Reviews

Glenn Hughes – Feel
	STYLE: RockRATING OUR PRODUCT CODE: 17856-27450LABEL: SPV 08589762FORMAT: CD AlbumITEMS: 1
Reviewed by Mike RimmerIn 1994 I reported the career revival of Glenn Hughes who was travelling the road of recovery from drug and alcohol abuse through the grace of God and various support agencies. His personal revival continues to be expressed not through radical Jesus lyrics but simply because this former incapacitated rock’n’roll casualty continues to have his life together on the road and in the studio. Through his Deep Purple heritage it sometimes feels as though fans’ expectations force Hughes into being more of a rock singer than he’d like. However, whether he’s bellowing out the heavier side of this album on “Big Time” or “Redline” or getting funky on “Coffee And Vanilla”, Glenn Hughes has one of the exceptional and versatile voices of British rock. Certainly on the funky stuff like the sublime “Speak Your Mind” and the sax enhanced “Save Me Tonight” where he soars off into the heights. As well as his voice, it’s good to hear Hughes slappin’ that bass again. Long time fans will be pleased to hear Pat Thrall reinstated on guitar duties and contributing subtle and not so subtle additions to the proceedings. A close inspection of the lyrics reveals a few carefully coded references that show Glenn is still aware of the source of his continued strength. Worth getting into just to check out the wonder of Glenn Hughes’ tonsils!The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

Feel – Album Review

Xero XRCN 1243 : JAPAN : July 1995 CDGlenn’s latest studio offering again came out in Japan far in advance of anywhere else. Eleven tracks plus a bonus re-re-cording of “Holy Man”. I have to admit that with so many advance reports stressing the mediocre nature of the material, it was a long time before I summed up courage to play it through properly. It saddens me to admit that most of what people were saying to me was right.The whole CD really lacks direction and drive. It has no real spirit or identity. Glenn seems to have had so little to fight against on here that he really goes through the motions. Yes it is wonderfully performed vocally but Glenn is so gifted in this department these days that one looks for a little more somehow. The rockier direction of his live shows has all but gone, yet the slower funkier material fails to catch fire – crying out for some really dirty bass and Bolinesque guitar, and also lacks basic melody much of the time. Elsewhere tracks like “Big Time”, the opening song, do have a lot more promise – a modern backing which manages to deliver something a little stronger for once. I dunno, I really feel Glenn needs some very good firm production help to begin to push him forward, for albums like this just won’t advance the cause one iota.

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For Further Information:

• https://en.wikipedia.org/wiki/Feel_(Glenn_Hughes_album)
• https://www.discogs.com/release/1250528-Glenn-Hughes-Feel
• https://www.glennhughes.com/feel.html
• https://www.glennhughes.com/makingoffeel.html
• https://www.discogs.com/release/6370771-Glenn-Hughes-%E3%82%B0%E3%83%AC%E3%83%B3%E3%83%92%E3%83%A5%E3%83%BC%E3%82%BA-Feel-%E3%83%95%E3%82%A3%E3%83%BC%E3%83%AB
• https://www.crossrhythms.co.uk/products/Glenn_Hughes/Feel/17856/
• Darker Than Blue Issue 48  January / February 1996
• Glenn Hughes The Autobiography: From Deep Purple to Black Country Communion by Glenn Hughes

Extra Thanks To:

• hh

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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Lead up to the Album:

• In Hughes’s autobiography he talks about breaking up with his girlfriend, packing up, and moving to a hotel in Hermosa Beach that would become his home for a year.
• It was during this time in the early spring of 1995 that he would make the album “Feel” at Gary Ferguson’s studio.
• This is almost all Glenn says about this album in the book.  He follows up with a detailed account of a lapse in his sobriety.
• From: https://www.glennhughes.com/makingoffeel.html
  • all text and pictures (copyright 1995/1996) by Marc Fevre & glennhughes.com
  • Napa, CA, 1996 – It was back in March of 1995 that we went into the studio to begin work on what was to be Glenn’s “follow-up” to the musical groundwork he first laid out in 1977 on his initial solo album, “Play Me Out”.
  • Living For The Minute had been the most recent working title for this, Glenn’s sixth official solo effort but, as with both Against The Grain and Speak Your Mind before it, Living For The Minute was ultimately eschewed in favor of the title that came to best represent the album as a whole; namely, FEEL.
  • It had been Glenn’s intention for some time now to record an album that went back to his roots and which fused together the myriad of his own musical interests in a fresh, new, and exciting way. Jazz, soul, rhythm and blues, (and yes, rock, too), were all to be represented on this record, and shortly before Glenn finished writing the material that would comprise his new album, he decided that this time around he’d be doing things a little differently.
  • As opposed to writing and recording this album with a band in place, Glenn had decided that he’d work with a series of guest musicians instead, players who would come and go throughout the process, lending their talents to the songs for which they were best suited along the way.
  • “I’m going to be fitting the musicians to the songs this time out,” Glenn told me before we went into the studio, “and not the other way around. I think the songs will be the better for it. You know? Not compromising anything to fit solely within the abilities of a fixed band.”
  • And so it was in this way that friends and musicians like Matt Sorum, Richie Kotzen, Pat Thrall, Bruce Gowdy, and Gary Ferguson – to name but a few – would all come to be involved in the making of FEEL, and it would be their job to help Glenn fully realize his vision along the way. It would be my job to capture all of this on film.
  • Glenn and I had known each other for almost two years at this point, having first met one another back in 1993 to begin collaborating on an, as yet, ongoing project of mine; specifically, Glenn’s biography. It was in this capacity, as Glenn’s would-be biographer, that I myself came to be involved with the making of FEEL.
  • It had originally been my intention to cover some of the sessions for my book but, over the course of talking with Glenn about this, I was ultimately afforded the opportunity to do something more; that is, to photograph the better part of the project for inclusion in the album’s booklet art itself!
  • Glenn had had a definite idea at that time of what he wanted the album to look like, to feel like, and – in part inspired by the interior photography he’d seen included on Richie Kotzen’s own Mother Head’s Family Reunion album – Glenn had decided that what he wanted photographically speaking was to capture the feel, so to speak, of the album’s creation in the studio.
  • And so, over the course of the next seven days or so, I shot roll after roll of film, capturing the images of Glenn and his collaborators on film as they worked. It wasn’t always easy going. The studio was small, the lighting was at best difficult to work with, and the hours were oftentimes very long. Moreover, as with any recording session, there were moments of frustration and/or tedium, and the added pressure of having some guy lurking about with a camera just waiting to jump out and take your picture was bound to add to some of this. Still, it was a lot of fun, and by and large we had a good time, and, in the end, some great moments in and around the studio were captured on film.
  • Ultimately, however, when all was said and done, it was decided – perhaps by the label – that a more “high fashion” look was wanted for the whole of the album, and so my work was out and Burrn! photographer William Hames’ was in. For my part, while I felt ( and still feel) that the album ended up with a great look and sound, I couldn’t help but feel a bit disappointed as well. It would have been nice to have given Glenn’s fans a look behind the scenes at the making of this remarkable album – to say nothing of the self-satisfaction that would have come with seeing my work at home, sandwiched in between the covers of a Glenn Hughes album! – but, alas this time out it simply wasn’t to be.
  • Now, however, courtesy of the editors of Coast To Coast, some of my favorite photography from those sessions has at last found an outlet, and I couldn’t imagine a better home for them than this. I hope that you enjoy looking at these pictures as much as I enjoyed taking them.
  • 
    

Core Band:

• Vocals [All], Bass Guitar – Glenn Hughes
• Drums, Percussion – Gary Ferguson (tracks: 1 to 9, 11)
  • Session drummer who worked with Billy Preston, Eddie Money, Gary Moore.
• Drums – Matt Sorum (tracks: 10)
  • https://mattsorum.com/
  • https://en.wikipedia.org/wiki/Matt_Sorum
  • Played in Guns N Roses, The Cult, and The Power Rangers Orchestra
• Guitar – Bruce Gowdy (tracks: 2, 10)
• Guitar –  George Nastos (tracks: 9)
  • Most credits with Glenn Hughes
• Guitar – Pat Thrall (tracks: 1, 4 to 7)
• Keyboards – Bruce Gowdy (tracks: 2, 10)
  • https://en.wikipedia.org/wiki/Bruce_Gowdy
  • Founding member of band World Trade. Also in Stone Fury and Unruly Child.
• Keyboards – Carmine Rojas (tracks: 6)
  • https://en.wikipedia.org/wiki/Carmine_Rojas
  • Mostly known as a bass player
  • Carmine has also recorded, toured and played alongside Tina Turner, Keith Richards, Stevie Wonder, Ron Wood, Stevie Ray Vaughan, B.B. King, Mick Jagger, Eric Clapton, Joe Bonamassa, Eric Johnson, Peter Frampton, Al Green, Carly Simon, Ian Anderson, Paul Rogers, Noel Gallagher, John Waite, Steve Winwood, Billy Joel, Herbie Hancock, Lee Ritenour, Julian Lennon[2] (Musical Director/Bassist), Richie Sambora, Robert Randolph, Joe Don Rooney, Trace Adkins, Nancy Wilson, John Hiatt, Carole King, Beth Hart, Bobby Womack, Sam Moore, Billy Squier, Rob Hyman & Eric Bazilian, Olivia Newton-John, Michael Hutchence, Bernard Fowler, Blondie Chaplin, Billy Gibbons, Leslie West, Joe Lynn Turner, Carlos Santana, Todd Rundgren, Patti LaBelle, Nona Hendryx, Michael Bolton, Ivan Neville, Allen Toussaint, Phil Ramone, Kevin Shirley, Trevor Horn, Charlie Sexton, Jewel, Brandy, Dave Mason, Mike Patton, Glenn Hughes, Nektar, Belouis Some, Tetsuya Komuro, Hitomi, Ziroq, Modern Primitives, Simranking, Sass Jordan, Alphaville and others.
• Keyboards – Greg Phillinganes
  • https://en.wikipedia.org/wiki/Greg_Phillinganes
  • Stevie Wonder, Eric Clapton, David Gilmour and Toto, was musical director for Michael Jackson, and has released two solo studio albums.
• Keyboards – Marc Hugenberger (tracks: 3, 4, 6, 7, 9)
  • Worked with The Pointer Sisters on Garfield CD
    • https://www.discogs.com/master/41765-Various-Garfield-Am-I-Cool-Or-What
• Keyboards – Pat Thrall (tracks: 5)
• Keyboards – Todd Hunter (tracks: 1, 3, 4, 5)
  • https://en.wikipedia.org/wiki/Todd_Hunter
  • In the band Dragon, and Australian band in the 1970s..
• Saxophone – Pat Zicari (tracks: 4, 6)
  • Played Sax on the Ringo Starr Christmas Album “I Wanna Be Santa Claus”
  • Also a disco album by an artist named Daddy Dewdrop who appeared to be a pimp with a speaker surgically inserted in his chest
• Soloist, Guitar – George Nastos (tracks: 8, 11), Pat Thrall (tracks: 11)

Technical:

• Engineer – Dave Ahlert*
  • Worked at Ponderosa studios
  • Worked with Natalie Cole, Oingo Boingo, Dionne Warwick, Hughes Thrall, Donna Summer, Gordon Lightfoot
• Coordinator [Field] – Jon Finnegan
• Coordinator [Project], Management [Tour] – Bill Hibbler
• Management – Lynn M. Martin
• Management [For] – Bear Music, Ltd.
• Mastered By – Tom Baker (3)
• Mixed By – Dave Ahlert*
• Mixed By [Assisted By] – Greg Cathcart

Album Art & Booklet Review

• Artwork [Imaging] – Ray Kachatorian
  • Did album covers for UFO, John Norum, and Craig Goldy
• Photography By, Design Concept [Visual Concept], Design – William Hames
  • https://www.wolfgangs.com/concert-and-band-photos/william-hames/
  • Visual for Julio Iglesias, Air Supply, R.E.M., and many more.
• Liner Notes – Glenn Hughes
• Liner Notes [対訳] – 山崎智之*
  • Tomoyuki Yamazaki
  • Music journalist
• Liner Notes [解説] – 伊藤政則*, 広瀬和生
  • Hirose Kazuo
  • Japanese magazine editor, author, critic

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Album Tracks:

1. Big Time (Hughes, Thrall)
   • Guitar – Pat Thrall
   • Keyboards – Todd Hunter
   • Producer – Pat Thrall
2. Livin’ For The Minute (Hughes, Gowdy)
   • Guitar – Bruce Gowdy
   • Keyboards – Bruce Gowdy
   • Producer – Bruce Gowdy, Glenn Hughes, Pat Thrall
3. Does It Mean That Much To You? (Hughes)
   • Favorite ballad – Does It Mean That Much To You?
   • Electric Guitar, Acoustic Guitar – Pat Thrall
   • Keyboards – Marc Hugenberger, Todd Hunter
   • Producer – Glenn Hughes
   • (“Todd Hunter recording the keyboard tracks for ‘Does It Mean That Much To You?’.”) Of Todd, I have to say this: like Gary Ferguson, the guy was a real quick study. I mean, Glenn was still composing this number when Todd came into the studio, and in like five minutes Todd had learned all of his parts already and was set to go. In fact, he even came up with a great part or two on the spot, and that just blew Glenn away. He was elated! Shortly thereafter, Gary – who, by the way, often plays with Todd in a local jazz combo – stepped into the recording chamber, worked out and rehearsed the hip-hop sounding drum track for a few minutes, and then “BOOM!”; they were off and running.
   • (“Pat Thrall ripping it up in between takes for ‘Does It Mean That Much To You?’.”) Pat, like Matt Sorum, was also a real pleasure to photograph, and a lot of fun to be around too! With his easygoing manner and everpresent grin, Pat had a way of lighting up any room he walked into. And his rapport with Glenn! Simply amazing. Glenn was never more relaxed during these sessions than when he was hanging out with Pat. It was a real pleasure watching the two of them work together again.
   • Favorite ballad – Does It Mean That Much To You?
4. Save Me Tonight (I’ll Be Waiting) (Hughes, Kentis, Rojas)
   • Guitar – Pat Thrall
   • Keyboards – Marc Hugenberger, Todd Hunter
   • Producer – Glenn Hughes
   • Saxophone – Pat Zicari
5. Redline (Hughes, Thrall)
   • Guitar – Pat Thrall
   • Keyboards – Pat Thrall, Todd Hunter
   • Producer – Pat Thrall
6. Coffee & Vanilla (Hughes, Rojas)
   • Favorite song – Coffee & Vanilla
   • Guitar – Pat Thrall
   • Keyboards – Carmine Rojas, Marc Hugenberger
   • Producer – Glenn Hughes
   • Saxophone – Pat Zicari
   • Favorite song – Coffee & Vanilla

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  • Flight of the Rat Bat Blue Light
  • Øyvind Fjeldbu –
  • Runar Simonsen –
  • Ruinous Inadequacies
  • Corey Morrissette
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  • Joe “Dopefish” Siegler
• The $1.71 “I Want My Own Tier” Tier
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  • Anders Engstrom
  • I see DC
  • Durple Purple
  • Purple Swede
  • David Hattam
  • Graham Bonnet’s Disco Pants and Haircuts
  • Eddie Lion

For Further Information:

• https://en.wikipedia.org/wiki/Feel_(Glenn_Hughes_album)
• https://www.discogs.com/release/1250528-Glenn-Hughes-Feel
• https://www.glennhughes.com/feel.html
• https://www.glennhughes.com/makingoffeel.html
• https://www.discogs.com/release/6370771-Glenn-Hughes-%E3%82%B0%E3%83%AC%E3%83%B3%E3%83%92%E3%83%A5%E3%83%BC%E3%82%BA-Feel-%E3%83%95%E3%82%A3%E3%83%BC%E3%83%AB
• https://www.crossrhythms.co.uk/products/Glenn_Hughes/Feel/17856/
• Darker Than Blue Issue 48  January / February 1996
• Glenn Hughes The Autobiography: From Deep Purple to Black Country Communion by Glenn Hughes

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.

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

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Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Glenn:

• Mob Rules
• Sweet Leaf
• Symptom of the Universe
• Heaven and Hell
• Zero the Hero
• War Pigs

Gillan:

• Heaven and Hell
• Black Sabbath

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Dio

• Children of the Grave
• War Pigs
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Gillen

• Neon Knights

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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.

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• September Glenn Hughes Dates
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  • https://www.vixenmchenry.com/event/glenn-hughes/
  • For additional shows:https://www.glennhughes.com/tour.html
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• Deep Dive Podcast Network

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Album Tracks:

1. Drifter version 2
   • This was felt to lack the overall edge over the version used on disc I, but the ending is if anything even more powerful.
2. Sail Away riff
   • How did Tommy know this track from “Burn” we wondered? Then we saw the photograph of David with a Stratocaster on! Jon Lord makes a useful tutor too. Later David slips into an early rehearsal for the Coverdale/Page album….
3. You Keep On Moving (take one)
   • An early run-through of one of the best tracks on “Come Taste.” It’s hesitant, so it was left off “Days,” but it is interesting to hear how the track started out, and there’s some great bass from Glenn who along with David wrote the track.
4. Pirate Blues (jam)
   • There are over forty minutes of jamming on “Days.” This is a little shaky compared to those but does have its moments – once they get the riff right that is!
5. Say You Love Me
   • David Coverdale’s reaction upon Ritchie’s departure was to start writing a solo album. During the rehearsals Purple tried a version of this Coverdale number. The light hearted bits in the middle tend to detract from the song (which is why it didn’t go on “Days”), but it’s great singing. It didn’t make the Purple album but David later recorded it for his 1978 solo outing “Northwinds.”

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  • Zwopper The Electric Alchemist
  • Anders Engstrom
  • I see DC
  • Durple Purple
  • Purple Swede
  • David Hattam
  • Graham Bonnet’s Disco Pants and Haircuts
  • Eddie Lion

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.

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

How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

• Support Our Show

• Leave us a 5-Star Review on Apple Podcasts
• Buy Merch at Our Etsy Store!
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Brendan Ashbrook – Logo Designer

New Patron/Patron Upgrades:

• Welcome Evan Robison joining us at the $5 “Money Lender” Tier
  • Sounds awesome! My very first Deep Purple album was a Stormbringer LP, I had absolutely no idea of the history of the band or the members of the band at the time, but I remember thinking “Whoa it says they have two lead singers here”. I liked the album and eventually I got myself a copy of Machine Head as well. But it wasn’t until later when I listened to Black Sabbath’s Born Again until I really wanted to go and check out what else Ian Gillan had done and what else he had done in Deep Purple.
  • I was quite simply amazed at the musicianship and the vocals and the entire vibe of it all. And being that I am a little younger for Purple fan (32) ,their music reminded me of music from the video game Final Fantasy 7.
  • I probably first discovered the Deep Purple Podcast in one of the Purple Facebook groups but what really got my attention was their respect for every era of the band , as well as all the side projects from members of the band. I was helping to start up a Deep Purple Facebook group when I first started interacting with Nate and John, and they suggested to automatically ban people who say “No Blackmore, No Purple” 

Thanks to Our Executive Level Patrons:

• The “In Memorium” Tier
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• $10 “Some One Came” Tier
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  • Jeff Breis
  • Victor Campos
  • “Better Call” Saul Evans
  • Peter from Illinois
• The “Hughes-O-Ween by 2033” Tier
  • Fielding Fowler

Upcoming Shows & Listener Meet Ups:

• September Glenn Hughes Dates
  • September 17, 2024
  • At The Vixen in McHenry, IL
  • https://www.vixenmchenry.com/event/glenn-hughes/
  • For additional shows:https://www.glennhughes.com/tour.html
• Deep Purple Upcoming Tour Dates
  • https://deeppurple.com/pages/tours
  • Potential UK Patron Meet Up

Show Review

• Deep Purple at BankNH Pavilion, New Hampshire. August 28, 2024.

Upcoming Rankings Show:

• Deep Purple In Rock
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• From New York, Rhode Island, and Las Vegas
• Scott Haskin sends Deep Purple related trading cards including cards signed by Graham Bonnet!

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Thanks to Our Core Level Patrons:

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  • Evan Robison – NEW PATRON ALERT !!!!

Album Tracks:

All songs written by Don Airey, Ian Gillan, Roger Glover, Steve Morse, Ian Paice, and Bob Ezrin.

1. Blood from a Stone
   • Working title was “Sweet as a Nut”
   • Roger describes it as “an idea from El Cortijo, a year and a half ago.”
   • Gillan’s thoughts and lyrics: https://www.gillan.com/wordography-78.html
     • This is a withering attack on the world of usury and banking (the collective noun for bankers is ‘A Wunch’).
     • I think it is fair to say that the perceived image of bankers has changed from the rock-solid financial advisor, friend of business and family alike; up there with doctors, priests, magistrates and other dignitaries (we’ll come to all of them eventually); reliable enough to counter sign official documents, to their current identity as parasites who profit from the misery of others.
     • Describe them as you will: Scum of the Earth; Chancers; Jack the Lads, Thieves or whatever, there are no more friendly bank managers, all bankers are tarred with the same dirty brush; they have become untrustworthy.
     • On a lighter note – a very close musician friend of mine thought this was not a generalised attack but aimed at a specific person; she is not a banker but fits the descriptions perfectly.
   • Morse told Don that it had a “Riders on the Storm” vibe to it in reference the Wurlizer and the sustained notes.
2. Uncommon Man
   • Keyboards [Additional Keyboards] – David Hamilton (2)
   • Partially inspired by “Fanfare for the Common Man” by Aaron Copland.
     • https://en.wikipedia.org/wiki/Fanfare_for_the_Common_Man
   • Bob said when he saw the band in Toronto he loved they way they improvised in the studio and wanted to capture that on the album.
   • They decide to try with an intro to this song.
   • Roger said that Steve and Don did the intro to the song in one take.
   • Gillan’s thoughts and lyrics: https://www.gillan.com/wordography-85.html
     • Sometimes writing lyrics is akin to creating an impressionist water colour whilst sitting at the bottom of a pool. All those legs are very interesting but it’s a challenge to capture them as the paint is all over the place. When you look at the results a few days later it’s hard to know what to call it. Then a title leaps from your Inbox and you gratefully explain to a bemused audience that you meant it all along, even if it is now the story of a lame mermaid caught in the ideological struggle for control of Ruislip Lido.
   • When asked about “Uncommon Man” by Goldmine Roger Glover said: “It is very difficult with Don Airey and Steve Morse, who are such great musicians, to play anything simple. They come up with ideas I would never have through of, and, whether it’s prog or jazz or classical, it doesn’;t really matter to us.”
   • When asked if this was a reference to Emerson, Lake & Palmer Morse said that he, Don, and Keith Emerson are all fans of Aaron Copland’s writing and that he had a huge influence on Dixie Dregs music. He also states this is a play on “Fanfare for the Common Man.”
3. Apres Vous
   • Working title was originally “Big Riff” then changed to “Slow Burn,” then “One Way.”
   • Song was almost abandoned as Gillan b _________________———-
   • Gillan’s thoughts and lyrics: https://www.gillan.com/wordography-79.html
     • You’ve heard of the famous Michelin Man no doubt; he’s the front man for the tyre company.
     • One evening, somewhere in Germany on the Rock Meets Classic tour in January 2012, I was confronted by Michelin Girl. We were preparing for the encore; all the performers were to join me in a mass murder of ‘Smoke on the Water’. Steve Lukather was strapping on his banjo as the audience rushed forward, led by Michelin Girl who was dressed (just about) in erotic threads that barely contained her wobbly bits. Throw in some big hair and a faceful of scarlet lipstick and you can imagine a scary figure lusting after me or Steve. I wasn’t certain which of us she was aiming for but to be on the safe side I whispered in his ear ‘Steve…You saw her first…après vous’.
     • That was the inspiration for an ‘imaginary’ night on the town that ended with my ‘imaginary’ friend making a complete arse of himself – as always.
4. All the Time in the World
   • Acoustic Guitar – Jason Roller
     • Worked with Kristin Chenoweth, Alice Cooper,  and many others
   • Percussion – Eric Darken
   • Steel Guitar – Mike Johnson (4)
     • https://www.mikejohnsonproductions.com/
     • 4x ACM Award Winning guitarist
     • Mike was voted the Academy of Country Music “STEEL PLAYER OF THE YEAR” for 2006, 2012, 2018 and 2020.
     • Worked with Faith Hill, Juice Newton, Kenny Chesney, The Charlie Daniels Band, and many more
   • Glover says that this song just came out of thin air in July while they were working on other songs in Portugal. He described it as “One from nothing!”
   • Gillan’s thoughts and lyrics: https://www.gillan.com/wordography-75.html
     • There’s something about old Zeno.
     • The idea that a tortoise cannot be beaten in a race is of course really ridiculous but mathematically possible if you allow the finishing line to be moved – and the pursuer to be elastically challenged – with every stride. How small (or large) can a space or time be?
     • Each is a moving number consistently defined by our ability to measure it.
     • Such wondrous thinking can be done sitting down just as easily as when out chasing reptiles.
5. Vincent Price
   • Steel Guitar – Mike Johnson (4)
   • This was the first song they worked on when Roger and Ian returned from Portugal in late September.
   • Gillan’s thoughts and lyrics: https://www.gillan.com/wordography-80.html
     • As musical idea rose from the depths and began to coagulate it was given the working title of ‘Vincent Price’; it sounded like the sound track to a horror movie. When Roger and I were tackling the lyrics we started with a list. Something we imagined would be drawn up by the director of a Hammer Horror movie; a list of essential ingredients for any self-respecting Vincent Price movie of the 1960’s.
     • So: Creaking doors, dungeons, rattling chains, howling dogs, dripping blood, vampires, thunder and lightning, sacrificial virgins and zombies to die for, etc.
     • And there you have it; the lyrics in a casket…manic laughter…fade.

Thanks To Our Foundation Level Patrons:

• £3.50 “Deep Purple NY” Tier
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  • Corey Morrissette
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• The $1.71 “I Want My Own Tier” Tier
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• The 10 kr “” Tier
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• $1 Made Up Name Tier
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  • Ashen Lionel
  • Blackmore’s Tights
  • Steve “Down to Earth” Koeller
  • Zwopper The Electric Alchemist
  • Anders Engstrom
  • I see DC
  • Durple Purple
  • Purple Swede
  • David Hattam
  • Graham Bonnet’s Disco Pants and Haircuts
  • Eddie Lion

Bustin’ Out The Spreadsheet

Reception and Charts:

• The album appeared at No. 104 on Sputnikmusic’s list of the “Best Progressive Rock Albums of 2013.”^[14]
• Now What?! sold 4,000 copies in its first week in the US.^[15] Six months after its release, Now What?! was certified gold in Germany (100 000 copies sold).^[16] It was the first Deep Purple studio album to enter both the Billboard 200 and the top 40 of the UK Albums Chart since The Battle Rages On… in 1993.
• An acoustic song called “No End To This Party” was worked on during sessions.
• From Roger’s diary: “ Bob doesn’t think it belongs on the album.   I, Don and IP agree.  Steve and IG hold out for it but are outnumbered.”
• Roger says that Bob asked him to stay behind a few days for the mixing as he would like his input. Roger said he didn’t want to be involved and that he trusted Bob and Corky to do the mix.
• Bonus Track “It’ll Be Me” written by Jack Clement appeared on the deluxe version
  • https://en.wikipedia.org/wiki/It%27ll_Be_Me_(Jerry_Lee_Lewis_song)
• Songs that didn’t make the album include:
  • Mentioned in Roger’s Diary:
  • No End to this Party, Bob thought it didn’t belong on the album
  • First Sign of Madness, Roger said it wasn’t quite ready
    • Lyrics to song and Gillan’s thoughts here: https://www.gillan.com/wordography-83.html
  • Roger Glover: “It’s very difficult to come up with good hard rock without sounding like a parody of yourself. I think we have achieved it.” 

Reviews

• AllMusic
  • http://www.allmusic.com/album/now-what%21-mw0002505037
  • Now What?! Review by Steve Leggett
  • Deep Purple have never quite been placed in the revered 1960s canon that includes the Who, Pink Floyd, Led Zeppelin, or any of the other British rock bands who continue to reunite in various configurations to tour and even periodically release new albums, but given that the group has always been a riveting and brilliant live act, part prog, part heavy metal, part funky R&B, and imminently theatrical, that second-tier designation seems like both an oversight and a shame. Returning with this set, the band’s first since 2005’s Rapture of the Deep, and featuring a near-classic lineup of vocalist Ian Gillan, guitarist Steve Morse, bassist Roger Glover, drummer Ian Paice, and keyboardist Don Airey (Jon Lord, whose distorted organ parts were so much a part of the classic Deep Purple sound, left the band in 2002 and died in 2012 of pancreatic cancer), one can only marvel at how timeless it sounds, as if it were actually recorded in the early ’70s and not tracked a little more than a decade into the 21st century. Produced by Bob Ezrin, Now What?! sounds exactly like Deep Purple in the band’s prime, moving from swirling, massive soundscapes to tight, riff-laden sections and back again with a swaggering confidence that is really pretty amazing, particularly given the senior-citizen ages of the band’s members. The opener, “A Simple Song,” is vintage Deep Purple, while “Weirdistan” and “Hell to Pay” simply rock by anyone’s definition of the term, while the closing track, the massive, powerful, and just slightly eerie “Vincent Price,” seems like a prog rock metal opera scaled down to single-track size. It’s easy to imagine this version of Deep Purple slipping any of these songs into their live set alongside the group’s classic tracks from days past without skipping a beat. Now What?! shows a band that still knows what to do, and that the album doesn’t cater to the current studio tricks and processes only makes it feel and sound even more like it comes from the golden age of British prog metal. Some things really shouldn’t change, and Deep Purple recognize that. They haven’t changed a bit, and the group’s many fans are going to find this release comforting in that regard.
  • ⅘ stars
• Brave Words & Bloody Knuckles
  • https://bravewords.com/reviews/deep-purple-now-what?!
  • DEEP PURPLE – NOW What?!
  • May 8, 2013, 11 years ago
  • (Eaglerock)
  • Martin Popoff
  • Rating: 8.0
  • review deep purple
  • The chorus of ‘Hell To Pay’ is the worst decision since ‘Razzle Dazzle’ but once past that and the album’s strange lack of treble, DEEP PURPLE spreads keyboard-grinding joy all over their pan-world listening audience of UN proportions, underscoring the fact that they are probably the most creatively vital of all hoary rock acts with roots in the ‘60s. Seriously, for the first time there’s dialogues brewin’ about the noticeable effects of age on some of these guys. It used to be just jocularity at various intensities of ill-meaning, when we’d be grousing ‘Pack it up and go,’ but some of these guys are falling asleep on stage…. Not Purple though; NOW What?! is a tour de force of funky heaviness, loaded up by Don Airey and producer Bob Ezrin with a bag of keyboard tricks, as the rest of the band tries to keep up with the prog metal zaniness of the parts and arrangements, everybody the winner, including the listener who might find this an elixir. To generalize, NOW What?! to these ears sounds like a cross between ELP, VAN DER GRAAF GENERATOR and the best intentions of the classic Purpendicular album, the first of this esteemed Morse era, especially anything funky and circular, recalling perhaps the Coverdale era to some extent. But yeah, I suspect a weird feedback logic, where Ian and Roger have taken to heart their own assessments of the band as jazzy, proggy, hard rock, a jam band, improvisers, a live band, a blues band, anything but a metal band, but then coyly injected enough Egypto snarl and Ritchie riffing into things so that NOW What?! comes out marbled heavily with metal, although it never quite dominates. I’m totally digging, in this regard, ‘Uncommon Man’, ‘Out Of Hand’ and the killer attack of ‘Apres Vous’. Late in the smug boomer trip is ‘Vincent Price’, on which Ezrin goes to town loading up on scary movie accents on a muscular mid-paced rocker smeared with camp Hammer horror. And what of Morse? His riffing is quite lost in the warm and layered mix, but that’s OK, and then when he solos, it’s usually quite memorable, seemingly composed, and singularly Morse in style, Steve lodging in that group of 25 or so hard rock guitarists who has that extra feather in his cap: an identifiable sound, and even one rarely copied. Conclusion: I’m trying to temper my admittedly off-average enthusiasm for modern Purple and call this an 8, ‘cos I now rate both Bananas and Rapture Of The Deep as 8s, although I’ll argue ‘til the last Hammond is toppled that both Purpendicular and Abandon are drop-dead 10s.
  • Review by Martin Popoff
  • 8/10
• Daily Express
  • http://www.express.co.uk/entertainment/music/394893/CD-Review-Deep-Purple-Now-What
  • CD Review: Deep Purple – Now What?!
  • DEEP PURPLE are a live band. None of this studio nonsense. If any of them were reading this right now they’d probably be nodding.
  • By Stephen Unwin
  • CD Review: Deep Purple – Now What?!
  • DEEP PURPLE are a live band. None of this studio nonsense. If any of them were reading this right now they’d probably be nodding.
  • By Stephen Unwin
  • 04:44, Fri, Apr 26, 2013
  • So a new album from the godlike rock stars, who need to be seen/heard to be really understood, feels a little bread and butter when you know they’d rather be entertaining their considerable masses than churning out more of the same.
  • It is more of that same perfect fodder and if any of them were reading this right now they’d probably be nodding thinking they’d rather be on stage.
  • Verdict: 4/5
  • ⅘
• Metal Hammer (Germany)
  • https://www.metal-hammer.de/reviews/deep-purple-now-what/
  • 6/7
• Record Collector
  • http://recordcollectormag.com/reviews/now-what-golden-deluxe-edition
  • Whether Now What?!, the curiously-punctuated latest album from the oldest warhorses of heavy rock still to be operating at stadium level, is really “the best Purple album in 30 years” – as more than a few overexcited Euro-hacks have claimed – is impossible to prove, but it’s a decent set of tunes by anyone’s standards. High points are Above And Beyond (about the departed Jon Lord, to whom Now What?! is dedicated), and Vincent Price, a throwback, lyrically and otherwise, to the swingin’ B-movie era in which Purple first got their act together.
  • This Golden Deluxe version (record companies and their big ideas, eh?) is one of three luxury spin-offs. It comes with a live disc called The Live Tapes (well, duh), also available as a double-LP, and a box set including both discs, a DVD, CD singles, T-shirt, poster and other fluff. It’s genuinely satisfying to see Purple’s new work treated with as much care as their back catalogue, and doubly so on listening to the live material, which is clear evidence of the current line-up performing at its peak. Guitarist Steve Morse and organist Don Airey, forever the new boys in many fans’ eyes, shred their way through classic and new songs with an energy that has to be at least partly responsible for the band’s return to form. Keep it up, gentlemen.
  • ⅘
• Sputnikmusic
  • https://www.sputnikmusic.com/review/56564/Deep-Purple-Now-What%21/
  • Deep Purple
  • Now What?!
  • 3.5
  • great
  • Review by manosg EMERITUS
  • April 30th, 2013 | 94 replies
  • Release Date: 2013 | Tracklist
  • Review Summary: A worthy addition to the long Deep Purple catalogue.
  • We had to wait almost 8 long years in order to listen to new music by Deep Purple. According to Steve Morse, the main reason was the limited funding allocated by music labels when it comes to recording and promoting a new LP. The band has toured a lot since Rapture of the Deep which included numerous great ideas but had one significant drawback; its production. The band decided to hire veteran producer Bob Ezrin (Pink Floyd, KISS, Alice Cooper) for this album and it seems that their choice was spot-on. Bob Ezrin helped the band organize their ideas, keep what is necessary and get rid of any inessential material. Moreover, in Now What?! the listener is able to easily distinguish among the various band members whereas in Bananas and Rapture of the Deep the approach was a bit pedal to the medal in regards to the volume level of all the musical instruments.
  • In addition, from time to time the album has been characterized as a fusion of Machine Head and Made in Japan by the record label, the best in 30 years by music critics and having elements from Fireball by various fans of the band. So, is it that good? Has a group that counts 320 years accumulatively on this planet managed to release such a gem towards the end of their careers? Well, the answer is apparently no. This album cannot be compared to those masterpieces simply because their two main soloists are different. However, Now What?! is a solid effort, worthy of the band’s name and one of the best of the Steve Morse-era.
  • So, how does the album sound like? To begin with, it is typical of the Mark VIII era with one important differentiation though. Whereas Rapture of the Deep was more guitar-oriented, this one revolves around Don Airey’s keyboards. Now What?! is one of the most, if not THE most, organ-oriented album in the band’s catalogue. Deep Purple have dedicated this LP to Jon Lord (RIP) and their choice to put the organ in the forefront is probably conscious and a successful one. Moreover, the tracks’ intros are very carefully crafted in order to attract the listener’s attention while most of the songs are mid-paced. In addition, the rhythm section is doing a great job even though Ian Paice doesn’t provide any paicey drum fills and Roger Glover’s bass is as audible as usual. One can feel the direction of this album by listening carefully to its opener. Nonetheless, the album contains some rocking moments (“Hell to Pay”), classical influences (“Uncommon Man”), some progressive passages (“Out of Hand”, “Apres Vous”) and laid back tracks (“All the Time in the World”, “Blood From a Stone”).
  • On the other hand, any Deep Purple album has some innate deficiencies. One characteristic is Ian Gillan’s nasally singing. While it may not be a huge problem to Purple fans, his singing has undoubtedly deteriorated during the past 20-25 years or so. The one time he tries to deliver his characteristic scream reminds us why he doesn’t use this technique anymore. That’s no news however, hence the use of the word “innate”. Moreover, even though Steve Morse is a remarkable guitarist and has been part of this band for 17 years now, his playing doesn’t fit 100% with the rest of the guys. His solos seem a bit out of place in some instances (“Out of Hand”) and the same can be stated regarding his guitar tone. While Rapture of the Deep was a personal win of his, in this album he could have done better bearing in mind his talent.
  • Overall, Now What?! is a worthy addition to the long Deep Purple catalogue. Fans of Purpendicular and the group’s last two albums will find several pleasing moments and the band should feel proud of the outcome too. After 45 years of creating music, this album is in all probability the best they could have offered. On the other hand, those who expect “Child in Time” screams, “Fireball” drum fills and “Burn” guitar harmonies will be disappointed. However, this is not the case for 2013 Deep Purple and the way one approaches this album will have an impact upon their impression.
  • 3.5/5
• The Quietus
  • http://thequietus.com/articles/12440-deep-purple-now-what-review
  • “Favourable”
• Ultimate Guitar Archive
  • https://en.wikipedia.org/wiki/Now_What%3F!#cite_note-13
  • Deep Purple
  • Now What?!
  • Mick Middles
  • Published 7:14am 4 June 2013
  • Iwas 15 when I first saw Deep Purple. This was 1971, at Belle Vue King’s Hall, Manchester. It was my first experience of a live concert and proved suitably thrilling. Three rows in, I felt absorbed by the eerie silence that immediately preceded the band’s arrival onstage. The thrilling blackness punctuated by the little red lights of the WEM speakers. Then – POW – band exploded into ‘Speed King’. Quite a punk moment, ironically enough, and one that would always sit alongside the sheer white explosion of the Pistols, five years later.
  • That is always how I have liked to think of Deep Purple. Back in the conservative context of ’71, the classic line up of Deep Purple In Rock, Fireball, Machine Head and Made in Japan seemed every bit as important as their gargantuan peers, Zeps and Sabs et al.
  • And yet Deep Purple always suffered in latter-day comparisons. Perhaps it was the nature of a band that actually went on to greater global glory in fluctuating line-ups of later years? Perhaps it was the sheer fact that those later line-ups would contain egos, talents and large enough to muddy the general waters? But when I think of Deep Purple, I cannot visualise Glenn Hughes or David Coverdale. I see Gillan unleashing a banshee scream stage-front. I see moody enigmatic Ritchie Blackmore unleashing lightening chops to the rear. I see Roger Glover pumping away in perfect sync with the thunderous pounding of Ian Paice. And I see Jon Lord spinning keyboard delight into the crowd. I see a rock & roll band.
  • What once seemed utterly at ease in its contemporary setting, now seems positively anarchic. My god, those wild keyboards? No producer or studio would, I am sad to say, allow such freedom these days, no matter how many derivative Purple-ite bands arrive smiling within the pages of Classic Rock)
  • All this is precisely the point of Now What?! Technically the band’s 19th studio album although it is the first time in decades that they have openly sought to “capture the spirit of ’71 and fuse it with the production qualities of today”. A slight juxtaposition there, although one listen in and you can’t fail to be warmed by the roots that so obviously curl back to those halcyon days. Not that, given time, this will sit levelly with ‘Machine Head’ of In Rock. Such a beast would be truly miraculous. But there is enough here to separate the Purps from other bands pushing through silvered years. 45 years on and they can still cause a tingle.
  • Of course, this cannot be the classic line-up. The album is dedicated to the memory of Jon Lord although the skills of keyboardist Don Airey seem to cast Lord’s presence throughout this album. In addition the band continues to contend with the enigmatic hole left by the belligerent Blackmore. However, guitarist Steve Morse might attack his instrument in a different way, but his 20 years with ‘Purple has seen him build a comparable platform. But with Gillan, Glover and Paice still firmly in place, it is as close as it is possible to get.
  • You can tell this from three seconds onto the opening ‘A Simple Song’. Morse and Paice trade gentle opening chimes, leading you to the heart of a song that sets up residence in the rear of your head. This could be partly due to the extraordinary production of Bob Ezrin, a man who seems capable of evoking the ancient through the medium of the new. Could anyone be so perfect for this album and there is no doubt that, sonically, this is occupying unique territory.
  • Thankfully, there is a little essential oddness going on. The funky ‘Weirdistan’ – framed around Glover’s heart-troubling basslines and the keyboard heavy ‘Out Of Hand’, which surprisingly evokes early E.L.P- in a good way – both serve to pull the album away from the sharks of ageing mundanity. It is odd to think of men deep into their 60s still capable of taking such risks. Would the die-hards travel with them? I sense so and I, for one, prefer this loose concept to the sheeny perfection of, say, ‘Perfect Strangers’.
  • Naturally, there are moments of essential rock out. ‘Hell To Pay’ will cause much stomping in the aisles during their Autumn UK tour without unduly stretching musical boundaries and ‘Body Line’ , as the title suggests, abounds in pre-PC ethos. It is, in effect, about little more than a song about ogling. If you can forgive that, then Now What?! will provide enough spirit and verve to throw a steely gauntlet to the legions of tattooed young pretenders amassing at the door. Will it fade as the months pass by? Despite a disappointing final three songs, I genuinely believe not. This is far more than mere continuum. It is a record made by old men for precisely the right reasons. It reaches back through the years and glimpses the brilliance that created a legend.
  • 8.3/10

For Further Information:

• https://en.wikipedia.org/wiki/Now_What%3F!
• https://www.discogs.com/release/4524222-Deep-urpe-Now-What
• https://musicbrainz.org/release/67ab415d-5a0b-46fe-9a03-e5d012dc84a9
• Roger Glover recording diary:http://deeppurple-nowwhat.com/wp/?page_id=114
• https://musicbrainz.org/release/bb79a825-27ae-40a7-abd1-1c6ba770c3cf
• https://www.gillan.com/wordography-dex.html
• Goldmine Magazine, September 2013
• https://973thedawg.com/finger-nails-freddy/

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.