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Great podcast! These are not experts flexing their knowledge of facts and trivia. It’s two friends having casual and entertaining discussions about all things Deep Purple related. It reminds me of hanging out and talking music with my friends. I consider myself a die hard Deep Purple fan but these guys have opened my eyes up to things I never noticed and given me a fresh perspective on things I know by heart.
5 STARS! – deep blackmore , 03/07/2020
Great podcast!!!
They are just regular fans just like me of the greatest band of all time!!
5 STARS! – MikeOfTheTerribleOpinion , 03/09/2020
What’s not to like?
Two old friends investigating and discussing the fascinating music and history of Deep Purple. Hard to think of anything better, in my opinion.
3 STARS! – assdf Fhh hhj I’ll l , 03/09/2020
Volume
Please turn up the music level, it is barely audible.
It would make this much harder more listenable.
Content great!
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Set list:
Burn
Might Just Take Your Life
Mistreated
Smoke on the Water
You Fool No One/The Mule
Space Truckin’
This Week in Purple History . . .
April 6 through April 12
April 6, 1974 – The California Jam
April 7, 1975 – Made in Europe live performance
April 7, 1987 – Whitesnake releases self titled album
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.
Rich Shailor on Facbeook: Just got finished with this episode 😂. Not sure if this or your dramatic reading of the Crucifixion from JCSS was my favorite part.
Roger: “I wrote [the poem] it about a year before the album. The album came about because I’d been wanting to do an album for a while but kept putting it off. The only way I’d get it done would be to actually book the time and then I wouldn’t have an excuse. So this I did, went to Musicland with Simon and Mickey Lee and spent a week laying down tracks over which I was going to sing, with a little help from Liza Strike and Helen Chapelle who were due to arrive a week later. What happened was I got cold feet when it came to my singing and abandoned the idea. Rather than go home and forfeit the studio time and musicians I’d already paid for, I decided to try something really off the cuff, not to mention off the wall, based on that strange poem.”
It was exhilarating actually, not knowing what I was going to do (or not knowing what I was doing) and just forcing myself to come up with something in the hour or so before the rest of them came into the studio each day. My only credo was that I really didn’t want to use the electric guitar; I’d had enough of it and I reasoned that it should be possible to make dramatic music without that crutch. It’s a matter of conjecture whether I succeeded or not, but if one went by record sales then I’d have to admit that I didn’t. Only one piece of music survived from the earlier abandoned recordings and that was used for the third section (water).
There two other musicians that I would mention: Ronnie Aspery, the sax player from Back Door who sometime later gave me the unforgettable quote when I asked him what he’d been up to and he replied that he’d had enough of doing sessions and was writing more, saying, “I’d rather be an architect than a bricklayer.” The other one is Graham Preskett, a super bloke and musician who orchestrated my ideas with a great deal of talent and zeal, and who sang whilst playing the electric violin. I’m indebted to everyone who appeared on that album, not the least of whom was Martin Birch, they gave me a lot of support when I needed it most.
Personnel
Acoustic Guitar, Backing Vocals, Producer, Engineer – Martin Birch
Only 3 other credits including Rick Wakeman’s Journey to the Centre of the Earth
Back Cover
Bruce Payne for managing
Mack for the intro
Stuart Wicks for the equipment
Francoise and Anne for the food
Stefan Kresic for being physically Immaculate
Graham Preskett for being spiritually immaculate
Judi and Gillian for just being
Cosy Powell for blowing my trumpet
Ken Randall for the image
Tony Cohen for the graphics
Album Tracks:
The First Ring Made of Clay (Glover)
The Next a Ring of Fire (Glover)
The Third Ring’s Watery Flow (Glover)
The Fourth Rings With The Wind (Glover, Birch)
Finale (Glover, Birch)
Reception and Review
“A long-winded labour of love” by Geoff Barton in Sounds Magazine, 8 April, 1978:
If I asked you which of the five members of Deep Purple Mk. II you reckoned had had the most success since the split, you’d probably say Ritchie Blackmore — and you’d be right.
But who would you place after Rainbow’s Man in Black?
The author puts Roger in second place due to his production.
Called the album “a labour of love, no doubt about it, but sadly not a resounding success.”
“Superior to some of Jon Lord’s similar work, i.e. “Sarabande.”
“Overall it lacks cohesion and direction.”
“It’s a commendable, proficient all round effort, but no ‘Tubular Bells’ or anything.”
German review, rough translation by Jorg Planer: “They said that this is a milestone of classic rock (in the meaning of symphonic rock), that has nothing to do with his former work in Deep Purple.”
In The News . . .
Sunday, March 8, posted image on instagram page with no explanation.
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Dear, Mr. Pop Star by Dereck and Dave Philpott – father and son team who write letters to famous pop stars about the lyrics to their favorite songs. This book features the letters they received back including some from Ian Gillan and Roger Glover
Lots of back and forth about Ritchie’s stolen and returned guitar.
1961 Gibson ES-335 semihollowbody (serial number 26547) Word is it Ritchie’s second wife, Babs, was awarded the guitar in their divorce and sold it at an auction in 2004 for $28,000. The current owner lives in Connecticut.
Elf was formed in 1967 when Ronnie Dio and the Prophets changed their name to the Electric Elves and added Doug Thaler on Keyboards.
In 1968 there was an automobile accident which killed Nick Pantas. Doug Thaler (former keyboard player) moved to guitar after recovering from his injuries and that’s when they brought in Mickey Lee Soule.
Ronnie is listed as Ronald Padavona on this album. In Dio’s Brutally Honest Tour Bus Interview from 1994 Dio explains that he used his birth name so that his parents could see their family name on an album at least once.
We will be coming to you on June 12 with a special episode to give real time reactions/review to the new album
Track Listing:
1. Throw My Bones
2. Drop The Weapon
3. We’re All The Same In The Dark
4. Nothing At All
5. No Need To Shout
6. Step By Step
7. What the What
8. The Long Way Around
9. The Power of the Moon
10. Remission Possible
11. Man Alive
12. And the Address
13. Dancing In My Sleep
This Week in Purple History . . .
March 23 through March 29
March 25, 1972 – Machine Head is released
March 24-25, 2001 – Deep Purple play concerto dates in tokyo with Dio on vocals
March 26, 2002 – Steve Morse releases his album “Split Decision”
Listener Mail/Comments
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Patron News:
From Greg Sealby: Love the show. I thought I knew alot about Deep Purple until I started listening to you guys. I don’t always agree with your ratings of songs (and am often yelling at my car stereo in dismay!), but that’s the great thing about music … we all appreciate different things. My favourite album you’ve covered so far is Rising, but I have discovered some other awesome music through you … so thank you! More Coverdale tweets please!!! Regards, Greg “I Come From The Land Down Under” Sealby
Thanks to our Brothers at the Deep Dive Podcast Network:
Roger Glovers bananabread! Something for John “sweets” Mottola to try and review? Could it be better than the butterfly ball?? It would be an intresting episode …?
Mash bananas in a bowl, add butter warmed to the room temperature, eggs and sugar. Mix well. Add flour and baking soda and mix to a smooth paste. Add vanilla extract. You can also add crushed walnuts or other nuts and stir. Pour the batter into a greased baking pan and bake 40-50 minutes in the middle of the oven. Probe with a stick towards the end of baking. The bread is ready when the stick is dry. Allow to cool and remove bread from the pan.
ps. 1 dl = 100 ml = 3.4 fl oz
Jorg writes in to inform us that Ritchie got the guitar back that we mentioned was stolen on epiosde 44.
The UK tour ended on the 28th February at the Philharmonic Hall in Liverpool on a bit of a sour point as Ritchie’s guitar was stolen by an over enthusiastic fan. Ian Hansford tells the background to this event: “During ‘Mandrake Root’ Ritchie would sometimes smash up an old guitar which, if there was even left, would be put back together and used next time. That night Ritchie was at the front of the stage rubbing the guitar up and down during the strobe section, it was in his hands not around his neck and the lead came out the jack plug. He came running back towards me as I ran towards him with the strobe lights flashing and we crashed into each other. By the time he had picked up his other guitar and I had gone to the front of the stage for the other guitar it had gone. We tried to find it at the front of the stage and even in the streets outside but it was gone. After that we had a couple of days off and then went onto Switzerland. The lad who had the guitar had taken it home and when his parents they got in touch with the hall who then got in touch with the promoter who got in touch with the office and eventually the guitar found its way back to Ritchie who was then very happy.”
Last two episodes (Smoke on the Water, Sufficiently Breathless) were banned on YouTube.
Dream Theater made a habit of performing entire albums
This album was recorded in Osaka at the very same venue where Deep Purple recorded Made in Japan in 1972.
Mike Portnoy in the liner notes:
Of course, the other reason I thought of doing this particular album is because of the significance of where we were going to be doing the multiple night stands (which is the rule for this cover tradition). By sheer coincidence, our two multiple nighters were in Tokyo and Osaka . . . which is exactly the 2 cities that Made in Japan was recorded in back in August of 1972! So . . . it was a natural!
Often we are asked, why do we do these complete album covers? I think there are 3 reasons: First (and most selfishly), we have a lto of fun doing it. IT breaks up the traditional touring setlists for us and gives us a chance to just have some fun paying tribute to the bands and the music we grew up with.
The second reason is for you — the fans. Although there are inevitably “fans” who complain about this tradition (they don’t want to sit through another band’s music, they didn’t like the choice of album, etc.) the majority’s reaction is that of enjoyment and excitement. (and the fact is, we ONLY do this on 2 night stands and at “Evening with” shows — so the fans are already getting many, many hours of DT music in addition to the classic album)
But the Third reason, and one that we did not initially anticipate, is that doing these albums have often been a great learning experience for us. STudying and playing other arist’s writing and performance has really given us the chance to try some different things and get inside these musician’s heads.
Every song is loose and spontaneous. And it was a fun challenge to try and capture that vibe. From JAmes’ scatty Ian Gillan improv in STrange Kind of Woman to John’s wreckless whammy-bar Ritchie Blackmore impersonations to Jordan’s over the top solo spots and Jon Lord tributes in Lazy and Space Truckin. And of course, my drum solo in The Mule, is not *me* at all . . . but my very best Ian PAice solo.
To top it all off, it is an absolute honor to have none other than Roger Glover mixing these tapes for us. Of course, in addition to Roger being the bass player and key creative force behind Deep Purple for almost 40 years now, he also happens to be the man who mixed the original MAde in Japan! So it is a great honor to have these tapes in the hands of the only man that could’ve possibly mixed this show for us.
Roger Glover in the liner notes:
When I heard that Dream Theater had performed MAde in Japan (in Osaka, the site of our recording thirty five years ago) I was somewhat skeptical that they could pull it off since it was a stage performance that included a lot of spontaneity, and how can you plan spontaneity? So, when Mike Portnoy contacted me and invited me to mix the recording, I was intrigued enough to agree.
I sat in the studio with PEter Denberg, the sound engineer with whom I’ve worked for many years, and was amazed by what I heard. Not only had they captured the essence of the performance but had injected their own brand of fireworks into the process. IT almost goes without saying that they are all top shelf musicians, but I’ll say it anyway because I was thoroughly impressed by their dedication and their obvious respect for the original show — they had picked up many of Deep Purple’s musical idiosyncrasies and reinvented them for Dream Theater. The energy of their performance is impressive and I felt honoured to be a part of it. I also thank them for tipping their hat to what was for us in Deep Purple one of the most important defining moments in our career.
Produced by Bob Ezrin, it is said to feature only seven new songs, all of them quite lengthy. In fact, you need to go back to “Machine Head” (1972) and “Who Do We Think We Are” (1973) to find that kind of format, so in a way this is pretty exciting news.
Whoosh Track Listing Song Titles:
Throw My Bones
No Need to Shout
Nothing At All
The Long Way Round
What the What!
Man Alive
The Power of the Moon
This Week in Purple History . . .
March 16 through March 22
March 19, 1971 – first official release of Green Bullfrog (covered on episode #43)
March 18, 1995 – Steve Morse’s first official show as guitarist in Seoule, Korea
March 17, 2002 – Mark 10 lineup plays its first gig in St. Petersburg, Russia at the New Ice Arena
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.
Michael Eriksson says: “By the way, Turner told me once that the commercials he has done was extremely well payed and that very few performers was on the short list. In other words, he made a fortune on them. But it has to be noted he got them because he could deliver. Good fun to hear that stuff now.”
Personnel
Acoustic Guitar, Lead Guitar, Slide Guitar – Rhino*
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.
Norman writes in to ask if we’ve seen Discoverdale – A fly-on-the-wall film crew follow cult Comedy Rock Band ‘Dead Cat Bounce’ on a desperate quest across Europe to reunite lead singer Jim with his long lost father, who he believes is the legendary rock singer and Whitesnake frontman David Coverdale. Crossing Ireland, England, Norway & Denmark the band follow the Whitesnake Forevermore tour across Europe. They’ve got no money and no idea what they’re doing – just blind faith that one day soon Jim will be sharing a jacuzzi in a 5 star hotel with the Dad of his dreams… and hopefully some hot Asian chicks.
Jorg: “Smoke on the Water” Roy Acuff & SmokyMountain Boys and Girls – from the movie 1943 “O, My Darling Clementine” Edited to Starts with Brother Oswald’s famous Laugh Jimmie Riddle, Pete Kirby(Bro.Oswald),Lonnie Wilson,Velma Smith,Jess Easterday, Rachael Veach
Elías on Twitter: – Marcelo ‘Teto’ Medina – Humo sobre el Agua This is the weirdest thing you are going to listen to… In 1992, an Argentinian TV presenter called ‘Teto’ Medina decided to record his own version of this classic… What do you think about?
Black Sabbath – Smoke on the Water – No, it’s not a typo. Black Sabbath performed “Smoke on the Water” as an encore during Gillan’s tenure in the band. This rendition comes from Worcester, MA on 11/4/1983. Quite good.
March 4, 1977 – Paice Ashton Lord releases Malice in Wonderland
Listener Mail/Comments
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Regarding the German man reading the poetry on the “Windows” episode. Jörg Planer writes: “The German Vincent Price is an German actor, Klaus Löwitsch. You won’t find him in the album credits, because his part isn’t on the album. I don’t know why, maybe just the German language, maybe copyright reasons…”
Ritchie Blackmore . . . is left handed! — More to come, Candice Night may disagree with this assessment!
Artists become eligible 25 years after the release of their first record
Official induction process:
A nominating committee composed of rock and roll historians selects names for the “Performers” category (singers, vocal groups, bands, and instrumentalists of all kinds), which are then voted on by roughly 500 experts across the world. Those selected to vote include academics, journalists, producers, and others with music industry experience. Artists become eligible for induction 25 years after the release of their first record. Criteria include the influence and significance of the artists’ contributions to the development and perpetuation of rock and roll. Block approval voting is used, with those nominees who receive the most votes being inducted, subject to a minimum of 50% approval. Around five to seven performers are inducted each year.
“The lineup we have now has been together the longest of any incarnation,” Paice said. “Quite honestly, they should’ve included Steve and Don.” And perhaps short-lived guitarist Tommy Bolin and frontman Joe Lynn Turner? “Everybody who’s ever been involved with the band, even for a short time, is instrumental in making it work and insuring [sic] it still exists to this day,” Paice acknowledges. “So I think if you’re gonna do it everybody should have been invited to join the club.”
Roger told Morgan Richards Interviews: “It’s not that special to us. I mean, it’s special that people support us, yes — we’re very thankful for that. And lots of people – from Metallica to Alice Cooper to RUSH, lots of people – wondered why we weren’t in there.
“Actually, we didn’t get it twice (Deep Purple were previously nominated in 2013 and 2014) before we got it, and what do you answer that with? Well, it’s not that important to us. And now that we’ve got it, it’s still not that important to us. It hasn’t changed my life in any way except I got a gong and a free mug. But it’s a bit of icing on the cake.
“A friend of mine, when he was getting an award like that, said, ‘The real reward for what you do is getting onstage and playing. Every night, that’s the reward.’ Something like a recognition like that, it’s just a little bit of icing on the cake — that’s all. It’s not that important.”
“I have no respect for them They’re the kind of people that having seen A Hard Day’s Night decided that The Monkees would be America’s equivalent to The Beatles. They’ve no idea what goes on in the big, wide world outside of their self-arbitrating surroundings.
“To me, those people are bloody arrogant and rude. I’ve heard that somebody on their committee dismissed us as one-hit wonders. I couldn’t figure out whether that was Hush, Kentucky Woman, Black Night, Stange Kind of Woman, Child In Time, Perfect Strangers, Knocking At Your Back Door, or perhaps even âSmoke On The Water.
“I’m very grateful for the other bands and artists that stood up for us with a view to our induction – that’s nice of them. But I wish that the Hall Of Fame had had the discretion to ask us first. It’s now become a debate in which we are too late to have the final word.”
Ritchie was honored by the offer of induction to the Rock and Roll Hall of Fame. He was discussing the possibility of attending, until we received correspondence from the President of the Rock Hall of Fame, who said that Bruce Payne, management for the current Deep Purple Touring Band, had said “No”……….!!!!!”
Therefore Ritchie will not be attending the ceremony. He sincerely thanks all the fans that voted for him for their support.
https://rockcandymag.com/ – Michael Schenker talks about a potential collaboration with David Coverdale that never happened:
Back in the early ’80s when I had the Michael Schenker Group my manager at the time, Peter Mensch, believed we needed a new singer to replace Gary Barden. I’d picked Gary for a reason, but Peter wanted to take the band to the next level and he wanted David Coverdale to work with me.
Coverdale probably asked Mensch to get me and Cozy Powell and [bassist] Chris Glen over to Whitesnake to replace Bernie Marsden and Micky Moody and whoever else was in that band at the time. I think that was the idea, but I didn’t want to let go of MSG. I said, ‘No, you ask Coverdale to join us.’
You know that song ‘Dancer’ from the MSG Assault Attack album? I actually jammed that song with Coverdale. I already had the music and he sung it differently, with some different words. So we tried something, but I didn’t really want to do it.
This Week in Purple History . . .
February 24 through March 2
March 1, 1946 – Tony Ashton is born
February 28, 1970 – Ritchie Blackmore’s guitar is stolen in Liverpool – serial number 221737
For Further Information:
Links throughout document.
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.
Derek Lawrence, who’d produced music with Ritchie Blackmore in the past, began working with Albert Lee. Their intent was to produce this album with Tony Dangerfield, the bass player for Screaming Lord Sutch.
After a while the sessions weren’t working out and the two decided to invite other session musicians that they knew and jam in the studio to record an album.
The entire album was recorded in two overnight sessions on April 20 1970 and May 23 1970.
Blackmore was invited and brought along Paice.
It’s stated in Country Boy: A Biography of Albert Lee by Derek Watts by that they both came directly to the studio after Deep Purple shows. I can’t find any evidence in their 1970 tour schedule that they played shows on either of these dates.
They played on April 18 at Ewell Technical College and on April 21 at BBC in London.
They played the 22 May in London at Brighton at The Dome so it’s possible they recorded the studio time as May 23 after the show. That or they recorded in the early morning on the 23rd and concluded with the show later in the day.
All the musicians on the album had wanted to play together but were all so busy with their own individual projects that this was the only chance they had to do it.
One final session was done with strings and brass being overdubbed on January 4, 1971.
Personnel
Since nearly everyone were under contract they chose to use pseudonyms for everyone on the album.
In the Green Bullfrog liner notes it says that he was friends with Blackmore and worked at a nearby music shop. He stopped by to drop off some guitar strings and they convinced him to stay and record.
Nickname because Lawrence would always say, “Hello, Vicar” to him
“Lovin’ You is Good for Me Baby” (Lawrence/Corlett/Hutton)
Rearranged by Lawrence in 17/9 time to make it more interesting.
CD Reissue Contains 3 Bonus Tracks:
Ain’t Nobody Home (Jerry Ragovoy)
Louisiana Man (Doug Kershaw)
Who Do You Love? (Ellas McDaniel)
Reception and Review
The first release was the session along with the single of “My Baby Left Me” and “Lovin’ You Is Good For Me, Baby” was released on 19 March 1971.
The UK release was a year later in March of 1972. Lawrence had played some tracks for Mike Maitland of MCA (the president) but he left the company before the release and it was not promoted at all.
Some records say it sold less than 500 copies.
Album was re-released in 1980 under ECY Street Records in the US. The sleeve notes were written by Ed Chapero. There was a quote from Blackmore from Guitar Player interview in 1978 quoting that he, Paice, Lee, and Sullivan all played on the LP. The LP mistakenly credited Roger Glover.
Album was remixed at Abbey Road in 1991 by Lawrence and Peter Vince and released again on LP and CD containing the extra tracks not on the original release. This was the first time all the musicians were properly credited on a release.
Short snippet in Technical Audio in November of 1972.
Green Bullfrog CD liner notes by Connoisseur Collection by Roger Dopson
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.
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.
Jonatanhedlin on Instagram says: “Well deserved guys. Your pod set me out on new musical frontiers even after a life time of hard rock nerdiness.”
5 Stars on Apple Podcasts! CH-another CH, 12/29/2019 – Deep Purplest
Probably from my older brother, I got a 45 of Kentucky Woman when I was 8. The guitar solo was mesmerizing to me at the time, … perfectly crafted. Since then, the band has always been floating in my top 10. Knowledgeable in-depth discussion covering all MK incarnations by the hosts, track by track. Definitely worth a listen for older DP fans or someone curious about the band. Learn about one of the greatest, more under appreciated, influential bands in rock music.
5 Stars on Apple Podcasts! Scott Listener , 12/31/2019 – Great Deep Purple Deep Dive
This show makes my every Monday. Not only have I learned so much about my favorite band (I really thought I knew so much more!) but I enjoy the opinions conversation of the hosts. All I can say is: Encore!… 🙂 🙂
Rich Shailor on Facebook: Great podcast! These are not experts flexing their knowledge of facts and trivia. It’s two friends having casual and entertaining discussions about all things Deep Purple related. It reminds me of hanging out and talking music with my friends. I consider myself a die hard Deep Purple fan but these guys have opened my eyes up to things I never noticed and given me a fresh perspective on things I know by heart.
Jim Massa on YouTube talks about management defining DP as Mark 2 and the rule that 3 of five “original” members are required to continue on with the name.
Sound upgrade from our patrons. Thanks to all of you!
Comments from social media.
Word from Our Sponsor:
Joe Lynn Turner & Diet Dr. Pepper
Personnel
Composed By, Piano, Organ, Synthesizer [Arp] – Jon Lord
From the back of the album: “Continuo on B.A.C.H. (Lord-Schoener) This piece is a realization of a a well known incomplete fugue by BACH which was based on a scale using the notes represented by his own name. In english notation these would be Bb – A – C – B#. It’s intended to represent a sort of battle over “who shall play what” BACH himself died before being able to finish this fugue — I hope he approves of the way we finished it for him.”
However, in Germany, Central and Eastern Europe, and Scandinavia, the label B is used for what, above, is called B-flat, and the note a semitone below C is called H. This makes possible certain spellings which are otherwise impossible, such as the BACH motif.
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is named H and the B flat named B, it forms Johann Sebastian Bach‘s family name. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century.
Continuo on B.A.C.H” is a variation on an incomplete fugue composed by Bach which was based on the four letters of his surname. There is of course no letter H in music notation, so it is represented by B sharp. (A fellow member with greater music knowledge than I explains that “In Germany the letter H is formally the way to describe the b sharp note as it is in most countries”.) While for obvious reasons the piece has been well rehearsed, it generally has the feel of an improvisation. Off key playing of various instruments and jazz like passages combine to create an atmosphere of looseness. The purely orchestra sections therefore contrast more obviously than they would with a more rigid composition. The risk with such pieces is that they come over as pretentious and insincere. While Lord just about manages to keep such thoughts at bay, the symphonic passages do suffer from the usual malaise of rock stars who wannabee classical composers in that they become pseudo-classical. As with Bach’s original composition on which this piece is based, there is a feeling as it ends that it is incomplete.
Window: 1st Movement: Renga
From the back album cover: “During the 14th centuryin the Far East, a form of chain poetry was developed called a “Renga.” This involved a group of poets co-writing a poem. They would lock themselves away, and writing each verse in turn, continue until the finished product emerged. The idea for WINDOW was borrowed from this Renga chain poetry. Indeed the words of the 1st and 3rd movements are taken from a contemporary Renga. Eberhard Schoener and myself worked on the idea during the first part of this year, after bieng asked to perform a concert for the 1974 Prix Jeunesse in Munich. The first movent was then written by Eberhard adn the last movement by myself. The central section is ten, with a few changes, from the vocal movement of my own GEMINI SUITE which was written and recorded in 1971.
Window is based on 14th century collaborative poetry from the far east called Renga. The lyrics for the 1st and 3rd movements are taken from a contemporary renga found by Michael Kruuger.
Coverdale and Ashton with two sopranos.
Window: 2nd Movement: Gemini
The second movement is based on the vocal section of “Gemini Suite.”
Window: 3rd Movement: Alla Marcia-Allegro
Reception and Review
From the back album cover: “This is a live recording. As with all such recordings, no possibility exists to go back and do again any part that might have gone wrong; and to carry this through we subsequently made no over-dubs, and used on what was on teh tape. We felt that the very exciting atmosphere of the concert was best preserved this way.” Jon Lord.
He was the house engineer at Le Studio in Morin Heights when, in the winter of 1981, Rainbow started recording Straight Between The Eyes. As the producer, I spent a lot of time with him, sitting at the SSL desk, drinking endless cups of coffee and playing Battleships late into the night. We hit it off immediately.
One day, he saw a folder of my lyrics and poems and suggested that I do a solo album, offering me four days of free studio time as an incentive. After the album was released, we went on tour. He came to see us in Toronto and challenged me about the solo album again. So, when the tour was over, I travelled to Morin Heights with Colin Hart and started recording what would end up as Mask. I had no band––just a couple of guitars, a drum machine, synthesizer, sequencer, and some percussion instruments––so Nick introduced me to Jean Roussel, keyboards, and Joe Jammer, guitar. Those four days whetted my appetite, Nick and I went on to complete the album in New York. One of the memorable moments was when he introduced me to the wonderful Canadian singer Kate McGarrigle, who flew down to record some vocals. He had connections.
He was a lovely man, full of fun and wisdom, liked to enjoy himself, and a good listener. Had good ears. I am lucky and privileged to have had him in my life.
This Week in Purple History . . .
February 3 through February 9
February 9, 1977 – David Coverdale releases “White Snake”
February 3, 1987 – Whitesnake releases “Here I Go Again” as a single — well, not really actually. 🙂
February 8, 2000 – Deep Purple releases “Live in Concert” at the Royal Albert Hall
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