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New Apple Podcasts Review – FROM OTHER COUNTRIES!!!
This week, a review from Australia:
FIVE STARS!
Electric_Mayhem!, 31/10/2020
One Of Rocks Best
DP as a band & their contribution is criminally underrated – this is a great podcast that shines light on the band, it’s members & their musical family tree. Great listen!
Thank you to all the listeners that we don’t hear from!
The songs!
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.
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.
New Apple Podcasts Review – FROM OTHER COUNTRIES!!!
This week, a review from Great Britain:
FIVE STARS!
TrancaRua, 27/12/2019
Good stuff, fun to listen!
The most unlikely duo possible getting along too well and making really good things together. One of them is so quiet, an old soul (in fact as young as the most talking one) but full of catchy phrases and shows interesting knowledge of Deep Purple. Enjoying a lot, actually. Give a go!
Thank you to all the listeners that we don’t hear from!
Lead up to the Album:
Don Airey decided he was going to join Ozzy full time to work on Bark at the Moon.
Ritchie said in interviews that Don was “best friends” with Cozy and when he found out Cozy was being replaced he became furious and left the band to tour with Ozzy.
Roger Glover quit the band to just do production but was convinced to rejoin on bass by Bruce Payne.
Rosenthal joined the band straight out of Music College. He was asked to contribute with the songwriting but was told he would not get a full writing credit. Rosenthal had the foresight to get a lawyer to deal with the contract.
Rumors are the Bruce Payne wanted Rainbow to attempt to make a go of it without a keyboard player but that Ritchie wasn’t having it.
The recording took place at Le Studio in Morin Heights, Canada. The weather was exceptionally cold and snowy. It was in a beautiful 10-12 bedroom lake house with the studio at the other side of the lake. The band had two sets of equipment, one at the house for them to write and practice, and another at the studio.
Ritchie, of course, played a prank on Rosenthal but moving all the furniture out of his room and putting it in the cold and snow. The next morning Rosenthal was still freezing because he’d had to sleep in a freezing cold bed that he’d lugged back into the room himself.
Joe Lynn Turner said that Blackmore had warned him that moving more into this AOR direction was going to get him a lot of flak from the fans. Blackmore told Turner that for every one Dio fan they lost they’d pick up two new fans. Joe Lynn Turner said, “And that was the truck, literally. For example they never had any women at the concerts. So everyone loved that including the crew — it was thank God we have girls in teh audience now, we could compete . . .”
The first album with JLT where it was more cohesive, everything being done in one studio and together rather than the patchwork that was Difficult to Cure.
Ritchie admitted during this time he was more focused on song writing and was even struggling with solos.
Ritchie: “Unquestionably, we’ve turned in a more accessible direction on the last few albums. A few years ago I would have insisted that selling records means nothing. I realize now that a statement like that is made only by someone who it’s selling many records.”
Joe Lynn Turner says: “I’m an incredibly varied singer. I just grew up that way. . . . I love blues; I love ard rock and heavy metal, love country music s well. I listen to everything and just soaked it up; jazz and Etta James –I love that shit. I listen to sax players for vocal phrasings, just like guitarists do.”
JLT: “Sometimes people are surprised that I can sing R&B. I mean I grew up in a gospel church, in a black Baptist church. I’m a black man in a white man’s body –it’s unbelievable. If I really turn it on and go to the R&B side, it would just be too black. Glenn Hughes used to do that and do it real well, but he got killed for it. They used to say he’s too funky, he’s too black. You know what? He’s too gifted, so fuck you!”
Only credit on Discogs. Can only assume this is Ritchie.
Ritchie says that the album title was from when he bumped into Jeff Beck at a bar in 1967 after he’d just seen Hendrix. Jeff Beck told him that Hendrix’s playing hit him “straight between the eyes.”
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos
Written by Turner about route 109 in New Jersey and how it was so dangerous to drive down.
About a “drug run” in south Jersey where people would run massive amounts of cocaine and heroin.
In some interviews JLT says it’s about these drug runs, in other he says he was involved in one of the drug runs. He claims that he was friends with a guy who was a doctor who was analysing the cocaine. He tells the story of being caught up in this drug run unknowingly.
Video shot at a graveyard in Connecticut that was banned by MTV.
Stone Cold (Blackmore, Glover, Turner)
Joe Lynn Turner says this was written in the studio. He said he came up to Roger who was looking really depressed and when he asked Roger what was wrong he said, “She left me stone cold.” He was going through a difficult divorce at the time.
JLT said he heard him say that and said, “Wow, there’s a great song title!”
The part at the end with the ad libs about a “Deep freeze” etc. were done in the moment as it was recorded during a blizzard. JLT describes the mood created with giant icicles hanging in front of the windows as they looked out at the frozen lake.
Single released ahead of the album.
Reached #40 in the US and #34 in the UK.
Another video was made for this song.
Bring On The Night (Dream Chaser) (Blackmore, Glover, Turner)
Joe Lynn Turner says that he and Roger both set to write lyrics for this one and both had very different lyrics. They decided to combine the two into one song hence the parenthetical title.
Ritchie is on record as being a huge Abba fan. He would say that he was writing Abba-style songs disguised as hard rock.
Tite Squeeze (Blackmore, Glover, Turner)
A favorite of Roger Glover’s.
Turner says it wasn’t about any particular woman that he could remember.
Tearin’ Out My Heart (Blackmore, Glover, Turner)
This was about a Canadian girl that Joe was in love with.
Joe says the girl was with him while he was writing it.
Side Two:
Power (Blackmore, Glover, Turner)
JLT wanted this to be a huge arena rock anthem.
JLT claims that they were criticized because this song was too commercial.
JLT says this was an autobiographical song which came from him realizing how much personal power he had.
MISS Mistreated (Blackmore, Turner, Rosenthal)
Ritchie was talking about some girl he was interested in and Joe said, “She sounds like Miss Mistreated.”
Revolves around the question of in a breakup who really hurt who?
JLT says Ritchie told him to write it when he revealed the title and said he wanted to “shove it up Purple’s ass.” He then said, “Let them suck on that for a while.”
Rock Fever (Blackmore, Turner)
Turner says again he was aiming for an anthem.
Ritchie: “We’ve got to be more mainstream, Ritchie. We can’t just keep writing about dragons.”
Eyes Of Fire (Blackmore, Turner, Rondinelli)
Ritchie had wanted to do a track with an orchestra on it and tasked Rosenthal to write the orchestration.
Turner says he went to the bar one night and caught a glimpse of girl int he mirror behind the bar. “… her eyes were just incredible–she had that bewitching siren look. This is absolutely true. It sounds kind of sappy, but it’s really not;it’s what dreams are made of.”
“Her name was Erica Varga; I’ll never forget this girl. She was just stunning, platinum blond hair and these incredible green eyes that would turn colours, almost like red to green to brown. It was very strange; I’ve never seen a person like this before.”
JLT goes on to say that this is one of his wife’s favorite songs.
Reception and Review
In retrospect Blackmore says he remembers these albums as “fuzzy memories.” He says his main criticism is that they were so focused on making them perfect with their production that they lost a little of the more improvisational quality they’d had in previous albums.
Roger Glover: “ This is an album that should appeal to everyone. What we’ve done on this album is strike a balance between the accessibility of the last few albums and the progressivism of the earlier ones.”
The tour included the support acts: Iron Maiden, UFO, Riot, Scorpions, Krokus, 38 Special, Saxon, and Girlschool.
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.
Recently we got a chance to sit down and chat with Mo Foster about his new music, The Butterfly Ball, The Wizard’s Convention, Gary Moore, and working in the business. Take a listen!
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This week: Trapeze and its German counterpart!Jeff Breis shares the Trapeze album “Hold On” and it’s German counterpart!
Lead up to the Album:
There was concern that the image Island had given IGB was not working.
Ian Gillan was very upset and Colin Towns tried to write songs that would showcase Gillan and make him appear better than he viewed himself.
Towns: “I’m going to write something which shows Ian from one extreme to the other, show he’s a good singer as well as a good screamer, and all the things in between.”
When Gillan returned to the studio Towns showed him a song he’d been demoing and Gillan really liked it.
The two decided they needed to make some changes.
Ian Gillan kept on Colin Towns after dissolving Ian Gillan Band.
Towns: “The following day he rang round the menbers of the band and said it was over. He said we’re not going to get any more out of the band, which was true. It’s a shame. If CLEAR AIR had been more successful it would have been good, but on the other hand it wasn’t any good for Ian. There was too much music for it to be the Ian Gillan Band.”
Drummer Liam Genocky (the first to be recruited) joined the band with Richard Brampton on guitar.
Genocky gave Towns a list of suggestions including John McCoy for bass.
John McCoy’s bandmate Steve Byrd was brought in to replace Brampton early on.
Towns was the primary songwriter and wrote most of the album’s material which they completed recording in August of 1978.
They played the Reading Festival on August 16, 1978 still billed as Ian Gillan Band.
The band’s policy was “no-frills” and they soon changed the name to simply Gillan.
Album was released on October 5, 1978 in Japan only. It would later be released in Australia and New Zealand but never saw release in the UK until the 1993 CD re-release. It sold well in the UK as an import.
British bass guitarist. He also plays drums, trumpet, cello, double bass, and is an independent producer.
Alises: John Renn-McDonald, Stix Hoypolloy
Played with Maldoon with Clive Maldoon and Dave Curtiss . Previously known as Maldoon Curtiss. Curtiss wasn’t happy with their album so he asked that his name be taken off.
All songs written by Ian Gillan and Colin Towns except where noted.
Side One:
Second Sight (Towns)
Secret of the Dance (Gillan, Towns)
I’m Your Man (Gillan, Towns)
Dead of Night (Gillan, Towns)
Fighting Man (Towns)
According to liner notes it was written by Colin Towns and he recorded who stayed behind with Chas Watkins and taped a vocal/piano demo. This was in the IGB days and Ian had left the studio with low morale after they’d been trying to record a few tracks.
“I’d been thinking about ‘Twin Exhausted’ and I thought sod it, I’ll write something that I think is right.”
Side Two:
Message in a Bottle (Gillan, Towns)
Not Weird Enough (Gillan, Towns)
Bringing Joanna Back (Gillan, Towns)
Abbey of Thelema (Gillan, Towns)
Back in the Game (Gillan, Towns)
Reception and Review
The new album was promised for September of 1978 (though it likely came out in October).
The tapes were sent to Japan where they where they were mixed up until hours before it needed to be shipped. The two IGB Budokan albums had done well in Japan so Gillan decided to captalize on that success.
In October they toured Japan to promote the album. When they got back to the UK there was no way to buy the album locally without going through an importer.
Gillan was a huge change of direction for Ian Gillan. The album sold well in the UK as an import despite only being released in Japan, Australia, and New Zealand.
The album received a good amount of positive press.
The band gigged consistently after the release and even got the attention of Ritchie Blackmore who joined them on stage at the London Marquee Club in December of 1978. Afterward he would offer Gillan the job in Rainbow which Gillan refused.
Eek. It’s good! Right from the word go it’s clear that this is a new band, and a new Gillan (or at least the old one revitalised!) Back is the raw, rough and ready sound which the IGB never had, and which Purple lost after ‘Fireball’. The band haven’t the technique or skill of Purple, but, by keeping things simple and doing straightforward songs with a minimum of solos they get away with it nicely. Compare this to ‘Long Live..’ or ‘Trouble’ and see how dated they sound.
Marquee, London. 27th December 1978 – Live Review
Blackmore also spent Christmas in Britain, probably to check out vocalists. He did take the chance to sneak down to Gillan’s opening date at The Marquee, and join in for an encore. Blackmore also asked Gillan to join Rainbow. Ian said no, but in return asked Blackmore to join his band! But Ritchie, according to Gillan, wants to start at the top, and work from America, whereas Gillan wants to begin at the bottom and work his way up. Some of you were lucky enough to be at The Marquee on the night in question (gnashes teeth!)……
“We were all at the front, crushed, waiting for an encore, when the whole place erupted. It was Blackmore. He just walked out, smelt Steve Byrd’s armpit, plugged in, and started.. He didn’t replace Byrd, just joined in. He broke into ‘Lucille’, it was total bliss.” Terry.
Genocky did not continue with Gillan as he had a previous commitment with Gerry Rafferty. A new drummer, Pete Barnacle, joined the band.
The band replaced Genocky with Mick Underwood and Byrd with Bernie Torme.
They got to work on Mr. Universe with the new lineup.
“The Japanese Album” Liner notes by Simon Robinson
Listener Mail/Comments
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Thanks for a great site. Writing from DK I saw them at the following show in Odense on that tour and a year later in Feb 73 also in Odense. The end of MK 2 was coming.
Great memories. KB-Hallen would have about 4000+ in the audience and the other venues in DK (Odense + Aarhus) 3000-3500 at that time. We were allowed to be close, no chairs, but a lot of fun. Age between 14-18 and yes – we could smoke. KB-Hallen was a sports arena and that’s why the audience is everywhere – front and back.
I saw them in KB Hallen whenever they came and last time was 2009 there. They have since done bigger venues in CPH indoor and especially outdoor (5 coin on Amager with Morse). Nowadays they are doing bigger places (ValbyHallen 2017) and in Sept 2021 Royal Arena (?)
Even IG with Black Sabbath in KB Hallen as a guest in 1989 doing the encores SOTW and Paranoid.
The 72 show was recorded and broadcast by Danmarks Radio (DR) – the Danish national TV broadcast station – and as you notice they didn’t quite know what to film and who did what in the band (RB missing a lot!!) It was shown prior to the 73 DK tour on TV, but only Child in Time and Lazy.
I bought the same shirt as IG was wearing which you could also get in DK, even in Odense, so I guess it was pretty mainstream.
IG was the hero in the press, then RB being called the next Hendrix, then JL as the spokesperson delivering the facts.
in 72 Machine Head and Made in Japan went into the top 20 of the year in DK, even if MIJ came out in Dec 72.
The opening act was Philip Goodhand-Tait, solo piano player, never appeared again. In 73 it was ELO in DK. They surely did – still popular here and easily selling 12000 tickets in CPH.
BR Per Sorensen
Jorg says: You asked for more connections 😉 John Lawton claimed too, that he was asked to join Deep Purple in 1973… And more a Whitesnake – Uriah Heep connection: Micky Moody did a number of shows with Uriah Heep back in 2010.
Apple Podcast Reviews:
5 Stars!
BreisHeim , 01/03/2021
Heeere’s Johnny and Nate!
These guys are like the Johnny Carson and Ed McMahon of the podcast world, and I mean that as a great compliment.
Very entertaining show!
Lead up to the Album:
On December 22, 2020 a video was posted on YouTube:
The video was sent to me by Jorg within an hour of being posted.
The video purported to be the long storied performance of “When a Blind Man Cries” the only time Deep Purple did it live in the 70s when Randy California subbed in for a sick Blackmore.
There was posted by Robert Lafontaine:
This is an extremely rare audio recording of a Deep Purple show with Randy California. I recorded it all in stéréo. Sadly, at the encore , somebody knocked down one mike and I stopped recording. So… no Lucille. The recording is a bit muddy at times ’cause people who were holding the mikes didn’t keep them horizontal, but upward facing the metal roof…
Years later, I sent this recording to Randy and we chatted about music, his story, etc. He seemed to want to remix the show. In the vidéo there are many unreleased gems archives. The setlist was always wrong on a lot of websites. HERE’S THE REAL SETLIST FOR THIS RARE SHOW:
Strange kind of woman
Into the fire
Child in time
The Mule
Lazy
When a blind man cry
Space Truckin’
Lucille
Randy was called in because Deep Purple cancelled 2 shows before heading to Québec city; Ritchie was out. Some could say it’s The Saint Graal for Deep Purple fans as the songs were never played with Ritchie. Someday maybe, I’ll post the entire show. Enjoy this great archive in the meantime…
This show was never known to have a bootleg so this was big news.
There was a lot of debate as to the authenticity of the recording.
Of course fans WANT to believe but there were a lot of detractors citing the tone of Gillan’s voice, etc. But listening to it it just seemed like it must be authentic.
On December 30, 2020 part one of the full concert was posted to Robert Lafontaine’s account:
Jon Lord: “Randy was brilliant, God bless ’em, but everything had gotten to be such a bitch that we had to go home. We just couldn’t take it any longer.”
Personnel
Ian Gillan – Vocals
Roger Glover – Bass
Randy California – Guitars
Jon Lord – Organ
Ian Paice – Drums
The Show:
Articles (Translated by Ian Desrosiers):
Deep Purple, 6 avril 1972…translation :
A substitute in Québec
On April the 6th 1972, Deep Purple stopped in Québec (City) with a singular formation. This night, instead of Ritchie Blackmore on guitar, the crowd saw Randy California getting up on stage. Blackmore was sick with hepatitis and the band felt they had a chance to impose themselves in this part/territory and they tried to finish the tour even with a substitute. “At the time, Randy California’s band, Spirit, was popular, so we approached him,” tells Roger Glover. “I think we rehearsed for just a couple of hours before getting on stage. He was a good guy, but, as talented as he was, it was not the right thing to do to pursue the tour so we stopped. It pushed back our chances to be recognized in America for 6 month or a year.”
Deep Purple, 6 avril 1972…translation :
Jon Lord Interview
After the concert the wheel kept on spinning for Deep Purple. The band took a plane to New York the same night and it’s Jon Lord, harassed by the road manager, that gave us 10 minutes of his precious time.
Quite happy by the reaction of the Québec crowd, Lord is surprised to learn that some fans blame the new direction of the band on recent albums. He says that at the beginning of their career Deep Purple suffered from the “studio sickness.” The band didn’t really know what to do and what looked like a precise direction from the outside, was in fact the result of a quasi-improvisation where Lord’s classical formation took an important place. The last albums, Fireball and Machine Head, give a more precise idea of the music that the band plays on stage. Deep Purple is essentially a “rock n’ roll band” and the classical experiments will be relegated to solo output like “Gemini Suite” released last fall under Lord’s name.
This back to basics is not limited to only music, the lyrics are more simple, they could be judged as simplistic even, but Lord says that the band sees it as a way to get away from a morbid intellectual movement that plagues the world of rock. The lyrics are parodies of the first rock songs, but it’s just a gentle way to mock things that we like.
The simple stories found in Deep Purple’s lyrics translate, in a good way according to Lord, the band reality. Jon Lord doesn’t want to be seen as a demi god like some other musicians. His only responsibility on stage is to give the public what they paid for: music and good times.
People often interpret lyrics in a way to find meanings or messages, and in this way, it’s with prejudice that the band was labeled as “speed freaks.” Up until recently, the word “speed” in England did not mean amphetamine, and it’s with a great surprise that the band found that some saw in “Speed King” a drug song that contributed to making it a hit.
Lord says that drug taking is rare in English bands. The members of English groups consider themselves more like musicians than members of a big family of “smokers,” and this priority for the music is an element that helps make the English bands to be considered the best. We could not learn more; the wheel keeps on turning…
Jacques Marois,
special collaborator
Concert review
Deep Purple finally gave their concert in Québec (city), after waiting for eight months, a couple of snowstorms and lots of work.
That’s it, Deep Purple comes up on stage. Ian Gillan gets in front and says that Ritchie Blackmore is sick and will be replaced by Randy California, but nobody listens. People whistle, people scream, THEY are finally here.
The band starts with “Strange Kind Of Woman.” The sound is perfect, powerful and precise. But the musicians look hesitant (we will understand why, later after the concert, when we learn that California had only 2 days to rehearse with the band). But after “Into The Fire,” an old hit two years ago, we witness a high class of rockers and the guitar player is not here to take it easy.
Gillan announces “Child In Time,” one of the most beautiful Deep Purple songs. A quiet beginning on the organ and the band launch themselves into a fast “boogie” : hard to describe, but those who already heard a good guitar solo played on a Strat going through two Marshall amps at 400 Watts know. A police officer inside the Colisée (it’s the old hockey rink for the Quebec’s Nordiques) says to a woman watching the show “It’s catchy. I want to dance.”
Next, “The Mule.” Roger Glover (bass) and Ian Paice (drums) go crazy while Jon Lord gets some violin sounds from his organ. Ian Paice stays on stage alone and does a drum solo, that if he doesn’t dazzle by the complexity, surprises by his rapidity and energy. Paice doesn’t stop there and continues full speed into “Lazy” while Glover gives a demonstration of the way bass should serve hard rock.
Roger Glover is, with Tim Bogert (Cactus) one of the best rock bassists that played here.
Jon Lord had some problems with his organ.
The next number, “When A Blind Man Comes [sic]” is a really beautiful blues telling the story of a blind man abandoned by his mistress after knowing bliss with her. Gillan captures the atmosphere of the piece really well and shows that he’s truly a great singer knowing how to use his voice to the maximum effect in any musical genre.
Randy California ends the blues with an excellent solo helped by a volume pedal. He is, finally, the surprise of the night, playing soberly and effectively (his playing and personality on stage reminds me of Rayburn Blake, ex-Mashmakhan). It’s a real tour-de-force accomplish by California to fit in a band with whom he rehearsed for only 8 hours with: knowing the band, we could only admire the guitarist.
The concert ends with “Space Truckin’” on a rapid rhythm. Encore. “Lucille,” an old classic, and a guy dancing in front of the stage since the beginning of the concert finally finds himself on stage with Gillan.
Everyone got out of the Colisée with a smile on their lips.
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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Hi guys. Once again, thanks for a superb show. A funny note to Your last episode DP in Denmark. The last band to play original KB Hallen, before it burned down, was Black Country Communion (great concert) and guess what they played as the last number ever to be played in this old hall….? The hall where Beatles, Zep, Hendrix to name a few have played. It was the 13th of July, 2011, and 2½ months later the old hall was in flames…
hi nathan, im studying television and journlaism in College and im doing one of my classes is reviewing the concerto of both 1969 and 1999 versions and comparing them of how they are different in styles and was wandering if you could give me some feedback on it which is important for my work in terms of what people think about it.
In 1972 UH supported Purple in their first American tour
Total shows from spreadsheet played with DP. 30+
In the 90’s and 00’s UH often supported Purple during ‘”Satriani'” tours, then in South Africa and many other occasions.
In 1974 Lucifer’s Friend vocalist John Lawton sang ‘”Little Chalk Blue'” in Roger’s ‘”Butterfly Ball'”
Then, in 1976, UH looked for replacement for David Byron auditioned David Coverdale, they choose John Lawton, recommended by Roger Glover.
Ian Desrosiers: And here’s another Purple family link. The singer who’s gonna take Lawton’s place is Mike Starr who sang on a Colosseum II album with Airy on keys of course…
Roger Glover said, “It all started with Lonnie Donegan,” he says, “the energy of skiffle was infectious and I was a huge fan. In short trousers.” Heep drummer Russell Gilbrook played with Lonnie.
Russell Gilbrook replaced cozy Powell in the band Bedlam
Russell Gilbrook filled in on a performance of Jesus Christ Superstar when he was a boy.
Hanwel Community Center, DP and UH both had rehearsal spaces. This would be in the creation of Deep Purple In Rock and Very ‘Eavy Very ‘Umble.
Bob Daisley played with Rainbow and Jon Lord (Hoochie Coochie Men)
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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I just came in today from my daily run after listening to #5, review of the album “Deep Purple”.
I have enjoyed the first 5 episodes and your “look back” at Mark I.
We all have our different opinions about the band and you all found much humor in these Mark I works, I do come at them with a different perspective. I purchased “Shades” on vinyl in 1968 when I was 11 going on 12 years old. Up till that point my LP collection consisted of mainly Beatles and Stones (great stuff) and assorted 45 singles from the AM radio playlist. So when listening to these albums back then, there was no “In Rock” or “Burn” to compare them to at the time, and for that matter nothing else like it. However, the DP vibe struck a strand of my DNA in these first 3 albums and has been with me ever since. I can’t say that I disagree with your observations on Mark I, but, your observations are based on a different perspective. But hey, I have been on internet boards for over 20 years discussing such differences and I am looking forward to listening to more of the DPP.
Put me down as a patron.
John Tramontanis
BTW – my only knit to pick is I feel you shortchanged “Why Didn’t Rosemary” in your review. You moved on to the next track without giving a nod to the awesome shredding by RB during his 1:30+ solo, arguably the best Mark I guitar work (may have even heard 2 or 3 trills in there) I rate 5 stars, easy.
Also, a shout out to John for pointing out what delineates Blackmore from most guitarists aside form his brilliant playing ability is the feeling he exudes from the instrument!!
Perhaps I will start listening to the more current episodes first, so I don’t hit you with these dated comments.
I really enjoy what your doing and appreciate your effort!! It is so nice to hear talk about DP and the related tree. Keep them coming.
Superstar gets people to go to Deep Purple concerts The fact that Ian Gillan sings the role of Jesus on the album version of Jesus Christ Superstar is probably a significant reason for people showing up at the concerts of the beat group Deep Purple.
That’s the opinion of the leader, Jon Lord, who was in transit at Kastrup Airport yesterday, before the concerts at K.B. Hallen tonight, Odense on Friday and Århus on Saturday. 10.000 audience members. How long the group will last, Jon Lord doesn’t know.
He is betting on three years himself. Here, the group’s records are always among the most sold. As a part of a number of groups, he has visited Denmark 11-12 times himself, and finds the Danish audience to be open.
The strange thing about Jon Lord is that he didn’t listen to beat music until he was 16. Earlier, it was just jazz. And he has written a symphony for 38 [can’t read the number properly] instruments (it took him eight months).
– I feel the classical part of me is often expressed through my solos even though we play hard beat, but apparently that just adds colour, says Jon Lord, who plays the organ.
Album Tracks:
Highway Star
Strange Kind of Woman
Child in Time
The Mule
Lazy
Space Truckin’
Fireball
Lucille
Black Night
Listener Mail/Comments
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BreisHeim with the rare Shades of Deep Purple release from 1987
All 5s!
80s Hit
John
“Faith” by George Michael – 1987
Nate
“Ain’t Nobody” by Rufus (featuring Chaka Khan) – 1983
https://en.wikipedia.org/wiki/Ain%27t_Nobody
Recent Track within the Last 5 Years
John
Harry Styles – 2019
Nate
“Baby I Don’t Know (Oh Oh) by Vulfpeck
Wild Card
John
“Santa Lucia Luntana” by Giuseppe Di Stefano
Nate
“Numbers” by G. Love and Special Sauce – 1999
https://en.wikipedia.org/wiki/Philadelphonic
Q & A
Listener Mail/Comments
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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.
Hi guys! Just wanted to check in and let you know you I just discovered the podcast and have downloaded every episode. Obviously I’m a big Purple fan, as well as, all the branches of the family tree. Already listened to the first two episodes and now I have to keep going and refresh my memory on the early Purple that I don’t really reach for often.
One other thing…..you guys have to be from Rhode Island. First episode I heard you guys mention Great Woods, The Strand and that record shop in Apple Valley near the old movie theater I think. I’m a Pawtucket native so its cool to hear a local podcast.
Looking forward to getting through the episodes and rediscovering all the Purple.
Here’s a shot taken in the Pub at Stowe of the band playing and singing Christmas Carols for whoever cared to listen. There was a little drinking involved, of course!
This was during the writing sessions for House of Blue Light in December 1985. The album was recorded at the Playhouse in Stowe a few months later.
Roger, Ian G., Jon and Ritchie. Charlie Lewis in the background.
Christmas card… No its a deep purple non official release from Poland. Its a flexi disc in mono and playable on one side. You fool no one & a track by Demis Roussos. Comes in 4 different designs
Back in the early 80’s I bought a Teddy bear for my 3 year old sister for Xmas. I told her it was called Ritchie Blackmore. Over the next couple of weeks my young sister would climb into my parent’s bed at night with Ritchie Blackmore in tow….
One day in a local small grocery stall, as we stood in a queue to by sister, very loudly proclaimed ” Would you like to sleep with Ritchie Blackmore mammy? I don’t mind if you want to sleep with Ritchie Blackmore, ‘ Most of the people who turned around knew my dad Geraint
Deep Purple are a Christmas band for me. I got so much Purple for Christmas. Battle Rages On may not be a Christmas tune to you… so why can I always picture myself listening under the tree?
Isn’t Pictures of Home the ultimate Christmas Covid song? I’m alone here With emptiness eagles and snow Unfriendliness chilling my body And screaming out pictures of home
In 1978, as a ten-year-old boy, my parents made me a wonderful gift for Christmas. It was a small radio recorder. Instanty I started to discover the world of rock music. Two days Iater I listened to my first DP song: Child in Time. I’ve been in love with the band ever since!
Rich Shailor: Nothing at All sounds like a Christmas song
Nate – as I was driving home this evening I was thinking, I can share something I make, using my grandfather’s coppersmith tools and supplies – a Deep Purple Perfect Strangers logo ornament. It is not done yet, but will be ready for when Santa comes and visits on Christmas. Hope I make the cutoff – Pete
Comments about the show? Things you’d like us to cover? We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
Firstly, I hope you and your families are keeping well in these troubled times. We will all remember 2020 as a really terrible time for everyone but hopefully next year will be when we can get back to normal.
Firstly, I am 62 years old and I have never been on Facebook, Twitter or any other social media site so it is quite a leap for me to contact you. I was prompted to do so after the last couple of your podcasts during which you mentioned the lack of recent reviews on Apple podcasts. I posted one on 19th October and I noticed another fan ( named “ Well Disguised“) had also posted a review recently. By following the link to Apple podcasts on your site, there are a number of reviews, but if you go direct via the Apple app, there are a number of other reviews. This seems strange to me, but maybe this is the way Apple works.
In any case, I gave a very positive review as I have enjoyed your podcasts tremendously during this difficult period. I first became seriously interested in the music of Deep Purple (and a lot of other bands) at the relatively late age of 15, in 1973. Your reviews and discussions of all the “old stuff” I used to listen to have renewed my enjoyment of this great music. Personally, I prefer The Mark II version, but I also rate “Burn” as the equal of anything that the Gillan/Glover era produced (sorry but I think “Stormbringer” is Burn’s evil twin. I know you like this album a lot but I remember the disappointment I felt at the time when I first listened to it in late 1974).
Your podcasts have really been one the few positives for me this year, as I have gone back to the start and listened to almost every episode. Growing up in a working class area of Glasgow in the early/mid seventies was not always great and whilst as kids we weren’t exactly forced to work up chimneys, we weren’t rich either. Sport and music were really important and I know now that I was really lucky to live though a time when a huge amount of creative music was being released. For me, it was all rock music and not at all defined by genres the way it has been for many years. So, it was easy to like diverse music by Deep Purple, Genesis, Pink Floyd, Free, Bad Company, Jethro Tull, Yes etc. It was all just great music.
I have tried to be as brief as possible ( I could have said so much more!) but I wanted to let you know much enjoyment I have taken from the Deep Purple Podcast. I really like to listen to you go off on tangents. You are obviously long time friends and it’s nice to hear you talk about your shared experiences in Providence, Rhode Island. I was watching a quiz show on TV recently and one of the questions concerned a Providence tourist information film in 2016 which had to be withdrawn because it showed footage of landscapes in Iceland instead of Providence. That made me laugh.
Please keep up the great work and stay well and safe.
All the best,
Robert (OldBloodsuckerBob) Smith from Glasgow, Scotland.
Glover had been so busy producing and with Rainbow that he didn’t have much time for anything else. However, in 1983 he found some time to get into the studio and get to work on Mask.
This seems to be called “The Mask” almost exclusively, even in the CD release liner notes, despite the fact that it says “Mask” on the original album cover.
The album was released in June of 1984.
The label put some heavy promotion behind it and the title track saw release as a single. However, it was launched a few months ahead of Perfect Strangers and got a little lost in the mix.
Personnel
Bass guitar, lead vocals, other instruments – Roger Glover
From the album Mask, this song was written whilst Colin Hart was driving me to Le Studio, near Montreal. Rainbow had recently recorded there and Nick Blagona, the resident sound engineer, having seen some of my poetry, encouraged me to do a solo album. At first I demurred but he offered me four days of studio time on the understanding that only if something came of it, I would have to pay them. I took with me a few guitars, a sequencer, drum machine, and some half-baked ideas. It became obvious that I needed help so Nick introduced me to two local musicians, Joe Jammer on guitar and Jean Roussel on keyboards, who played on a couple of tracks. Eventually, I completed the album in New York. I couldn’t quite believe that the record company then offered to make a video (it was a time when MTV was huge), so I wrote the storyboard for it. Colin Hart and I flew to Los Angeles where I met some great people who helped make the video. Shot in two locations; the swimming pool of a house overlooking the city, and then at a wild animal training park a couple of hours from LA. I spent an amazing four days pretending that I was a film star. As you know, that fantasy didn’t last long. But the memory has.
RG
Fake It (Glover)
Side Two:
Dancin’ Again (Glover, Gellis)
You’re So Remote (Glover)
Hip Level (Burgi, Gellis, Glover)
Don’t Look Down (Glover)
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.
