Nathan Beaudry from The Deep Purple Podcast joins the guys to analyze “No One Knows” from the 2002 Queens of the Stone Age album Songs for the Deaf! For his first appearance on POT, Nate was given the privilege of picking the song and he chose this one, which marks the first time anything involving Dave Grohl has been featured on the show. Were some sacred cows slaughtered during the discussion, or did this cut receive Sweet Surrenders all around? Listen and find out!
Dear Nate & Jon. I have bad news. I can no longer support the D.P.P at the 6.99 level and Spike and Sugar Tits say they can no longer support the show at the 3.33 level each.
The good news is that Spike and Sugar T have agreed to share my former New Nice Price Tier at 6.99. And I will be in my new tier, the “Hughes-O-Ween By 2033” Tier. The only catch is you must produce a Hughes O Ween Episode near Halloween in a year before 2033. You have 10 years, make it happen.
When PoT joined Patreon, I hit the $20 Tier, so if I can give those boners $20, I can update and give you knuckleheads $20 from my family too.
An additional list of demands may come later, but they will revolve around Pops Mottola taking over the show.
Thanks guys!
Fielding, Sammi, and Spike.
Will Porter writes in, subject line “Here’s a duplicate name for ya!”
Hi guys,
nice as it is to hear my name in the patrons listings twice, you haven’t taken my name off the “Money Lender” tier since I “turned it up to $11”
I’d also like access to the spreadsheet if I may. I want to do some fumbling with the tabs of my own.
Cheers,
Will (PhDDP)
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Apple Podcasts Reviews:
Knut from Hell, Norway – 5 Stars!
Highly recommended!
If you are in favour of enjoyable rock anecdotes, this podcast wil be the seasoning that Purple-infects your brain. Even connoisseurs of the DP family can be impressed by the research that these gentlemen present in the presentation interesting analyses of the various tunes and themes. The Deep Purple Podcast maintains a standard worthy of the best band in the world. 5/5 Rock On! Knut from Hell, Norway
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“My car crash of 1987 was a horrible thing. But worse things happened to me at the same time. First, I had that car accident. Then my mother died. Then I was ripped off for all my money. It was just a horrible time, you know? But when you’ve been struck down that hard, you either come back stronger – or you don’t. If you put an obstacle in front of me, I will crush it, and I will go forward. I am impossible to stop. I cannot be stopped.”
Born Lars Johan Yngve Lannerbäck. At age 12, he took his mother’s maiden name Malmsten as his surname, then slightly changed it to Malmsteen and altered his third given name Yngve to “Yngwie”.
JIM LEWIS, VP of A&R Jim has been a member of the PolyGram A&R staff since early 1n 1986. He is responsible for signing established acts such as The Moody Blues and Emerson, Lake And Powell; as well as newcomers Yngwie J. Malmsteen and TNT. Prior to working in A&R, he worked for six years as V.P. of Marketing and International Repertoire where he worked with PolyGram International originating acts such as Def Leppard, Tears For Fears, ABC, Big Country, Bananarama and many more. J im began his musical career playing in bands and major orchestras in the Metropolitan area. He 1s a graduate of the Jullliard School and holds an MBA 1n Marketing from Columbia University’s Graduate School of Business.
Signed Bon Jovi, Prior to working in A&R worked on acts like Def Leppard and Tears for Fears.
Mixed By [@ Bearsville Studios, Assisted By] – George Cowan
Worked with Madonna, Whitney Houston (“I Wanna Dance With Somebody”), as well as many other clients including Red Hot Chili Peppers, Metallica, John Lennon, and The Rolling Stones.
Worked with may of the same people as Michael Bays and Pat Drosins.
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Album Tracks:
All lyrics are written by Joe Lynn Turner; all music is composed by Yngwie Malmsteen.
Rising Force
Hold On
Heaven Tonight
Single release
Dreaming (Tell Me)
Bite the Bullet (instrumenttal)
Riot in the Dungeons
B-side to Heaven Tonight
Deja Vu
Crystal Ball
Now Is The Time
Faster than the Speed of Light
Krakatau (instrumental)
Memories (instrumental)
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The “Sinking Force” Leaky Mausoleum
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Bustin’ Out The Spreadsheet
Reception and Charts:
Overall this was Yngwie’s best charting album reaching #7 in the Swedish charts, and #40 in the US charts, #19 in Japan and #27 in the UK. Later albums would chart much better in Japan but he never reached these heights again in the US or UK charts.
Odyssey is a more subdued, polished collection seemingly designed for mainstream radio airplay. Vocalist Joe Lynn Turner gives the set a smooth, professional feel, and Yngwie Malmsteen’s playing is more mellow, due partly to the fact that he was still recovering from his near-fatal car accident when the album was recorded. However, all of this works to the detriment of the music: the mellowness of Malmsteen’s guitar work makes him sound constrained and passionless, and the album shows little difference in approach from his previous output, lending credence to critics’ charges that Malmsteen plays with mindless technique at the expense of substance, fire, and emotion.
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Tonight’s the night for our one year anniversary show. It’s a family affair as we welcome and are reunited with our special guests Nathan Beaudry and John Mottola from The Deep Purple Podcast. My sweet lord, as green as the way we were when we first began, I can see clearly now how we’ve been stayin’ alive for 52 episodes. We won’t be going as far back as December 1963, but we will be looking at the Billboard top 50 Songs from the 1970s, as broadcast on the AT40 Episode from January 5, 1980. Although there are quite a few foreign acts in this countdown, for the most part it is a big slice of American pie. We’ll be talking about a few bad girls we knew, like Maggie May from Britain who was three times a lady, and my Sharona, who was a true blue American woman. There may be a few silly love songs, and perhaps a stinker, but one bad apple don’t spoil the whole bunch.
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New Patron: Stephen Sharpe – $3.33 “Halfway to Evil” Tier
Hi Nathan and John. Thanks for your great show. I’m from Melbourne Australia and have loved the music of Deep Purple since I was a teenager in the 1970s. I enjoy your enthusiasm, commitment and the sense of fun you bring to the podcast. Keep up the good work. Stephen
Patron Upgarde: Duncan Leask
Hope you can help. I’ve been thinking about an upgrade to the half way to evil tier since the days that Raff Kaff had it all to themselves. Having finally made the decision, I’ve looked at Patreon and it’s not a tier I can choose.
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Apple Podcasts Reviews:
SirFoo – UK – 5 Stars!
So much to like about this show.
This has enhanced my enjoyment about all things Deep Purple. Knowledgable , funny and well researched but, above all, it just feels like listening to a couple of friends having a conversation about a rock band that we all love.
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The “Falling off the edge of the tomb” Leaky Mausoleum
Stephen Sommerville The Concerto 1999 Fanatic
Hank the Tank
Private Eyes
Ashen Lionel
Blackmore’s Tights
Listener Mail/Comments
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Bill Ward felt strongly that Sabbath without Ozzy wasn’t Sabbath.
While he like Dio and Gillan personally he just couldn’t see himself in the band, even though he would briefly return to record his only sober record with the group, “Born Again.”
Vinny Appice’s first album was with Rick Derringer’s Derringer band. He had also played with John Lennon.
Dio says they chose Appice because he had a similar style to Bill Ward.
With Appice in the band Dio said: “We had Vinny and Tony and myself and Geezer – three Italians and Geezer Butler! In fact, Geezer used to call us Geezer and the Italians!”
Iommi says Heaven and Hell had been partially written prior to Dio joining and on this album there was a bit more collaboration with Iommi and Dio working songs out together.
Heaven and Hell had been their last record for their deal with Warner Bros. As it was the last it didn’t get great promotion until it started selling well.
Dio describes Geezer as being a very negative person and that this writing process for this album was difficult. He says Geezer hated America and just wanted to be at home in England.
Geezer said in interviews that Ronnie assumed a lot of the credit for Heaven and Hell’s success. Geezer perceived it as Ronnie coming in and saving Black Sabbath.
Geezer said a tension grew between him and Tony and Dio and Appice and they’d go into the studio separately.
Dio had been bothered that the whole band was credited on the previous album where it was he and Tony who wrote it.
This time it was credited to everyone by Appice. He said he didn’t care even though a lot of the songs came out in jams because he was just happy to be in Black Sabbath.
They bought a mixing board thinking they could save some money by recording at Tony’s house in LA.
They ended up deciding that wouldn’t work and recorded most of the album at The Record Plant.
They began recording at Tittenhurst (John Lennon’s home) and Dio recalls bumping into David Coverdale there because they were just finishing up recording there. They recorded E5150 and the movie version of “The Mob Rules” there.
Dio said they learned of John Lennon’s death on thei flight over to England. Dio was slated to stay in John Lennon’s room and he didn’t want to stay in there because he was scared.
He and his brother Tim worked together known as “The Brothers Hildebrandt” and worked on sci-fi and fantasy artwork together.
Also did artwork for Trans-Siberian Orchestra.
The brothers may be best known for their “Style B” poster for the UK release of “Star Wars.”
Rumor is that the words “Kill Ozzy” are written underneath by the artist’s signature on the painting.
In reality the painting had been done in 1971 entitled “Dream 1: The Crucifiers” and was licensed by Black Sabbath.
One label rep claimed that Black Sabbath had requested this be added to the painting but there doesn’t seem to be anything to back this up.
The painting’s original title was “Mob Dream.”
The canvas stretched out in the center was supposed to be the stretched skin of a person with the face left intact.
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Album Tracks:
All songs were written by Robbie James Dio, Tony Iommi, and Geezer Butler. All lyrics were written by Ronnie James Dio.
Side One:
Turn Up the Night
Ronnie said he was never a fan of this song and that it was just “all right.”
It was issued as a single with the B-Side “Lonely Is The Night” and made it to #37 in the British charts.
The song starts off the comparisons many make to “Heaven and Hell” with people saying it’s just a weaker version of “Neon Knights.”
Voodoo
Ronnie said he always really liked this song.
The band only played it a few times live.
The Sign of the Southern Cross
Ronnie said he named this after a song he used to play when he played Trumpet called “The Southern Cross.”
E5150 (instrumental)
They would use this to open concerts during the tour.
5, 1, and 50 in Roman numerals spell “VIL” so they put an E in front of it.
Ronnie said this one was written for the Heavy Metal movie along with “The Mob Rules.”
This was the beginning of “The Mob Rules” where evil forces were trying to attack the city.
Dio said it was supposed to be a backing track and intro for The Mob Rules.
Dio said they used a Taurus pedal and different effects and it’s the only thing on the album that’s from a different recording session.
The Mob Rules
They had recorded this song for the “Heavy Metal” soundtrack but recorded it again for the album. They felt the one they’d recorded for the movie was a bit of rush job as they’d just come back from tour.
The title notably adds “the” to the album title.
It was used in the soundtrack for “Heavy Metal.”
It was written before they had the album.
It’s a song Dio continued to do.
This song was recorded at John Lennon’s house.
They chose this song to do for the film. Dio said when they saw the original cut of the film it was like a porn movie and they had to edit it back to avoid getting a XXX rating.
The single didn’t chart in the US but reached #46 in the UK.
Side Two:
Country Girl
Dio mentioned that everyone liked this track except for Bill Ward.
Dio wrote it for Wendy at The Record Plant in New York.
Iommi said he brought up that he didn’t think the lyrics really went with the sound of the song but they ended up keeping it.
Slipping Away
Dio says they wrote this one in England at Goldrock Road where they ended up mixing the album.
He says they wrote it very quickly, Geezer liked it, and Tony suggested making it a little funkier.
Falling Off the Edge of the World
The title was inspired by a song written by George Young and Harry Vanda with the same title. Dio said he always liked the title.
Over and Over
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Reception and Charts:
Made it to #12 in the UK album charts and #29 in the Billboard top 200.
1981 Mob Rules – Black Sabbath (L.P Alemania Vertigo 6302119)
After a steady decline in both inspiration, mental stability, and commercial appeal throughout the second half of the ’70s, metal icons Black Sabbath were reborn with 1980’s Heaven and Hell. The album would be their first with new vocalist Ronnie James Dio, whose passionate, controlled wail broke new ground for the band and helped drive a comeback. 1981’s Mob Rules was a quick follow-up to Heaven and Hell, continuing the momentum of that record’s energy as well as its shift away from dark metal to more commercial hard rock. Tony Iommi‘s signature guitar playing takes on new forms throughout the album, with Zeppelin-esque riffing on “Slipping Away,” slithering bluesy rock playing on “Voodoo,” and a strikingly different approach to soloing, shifting from the laser-focused slow burn of early Sabbath albums to a more frenetic, technically showy style on some tracks. Speedy album opener “Turn Up the Night” is one of the more spirited and pop-friendly moments of any Sabbath record, with a hooky and melodic chorus and Iommi running through fast-paced leads and trills that were no doubt taking notes from Eddie Van Halen, who was perhaps the most celebrated guitarist in the world in 1981. Mob Rules delved more into experimentation with keyboards and synthesizers, with auxiliary player Geoff Nicholls adding cinematic synth bedding to the epic churn of “The Sign of the Southern Cross” and spacy atmosphere to “Falling Off the Edge of the World,” among other synth contributions. New drummer Vinny Appice replaced original Sabbath drummer Bill Ward, pushing the sound even further from the band’s original sludgy approach. These changes, along with Dio‘s fantasy-based lyrics and a red-lined mix by producer Martin Birch put Mob Rules closer in line with the emerging New Wave of British Heavy Metal than the druggy devil-worshiping doom metal Black Sabbath first built their name on. While it was a solid album, Mob Rules might have followed the template established on Heaven and Hell a little too closely. The pacing and flow of the record was almost identical to its predecessor, from the chuggy opener of “Turn Up the Night” mirroring Heaven and Hell‘s “Neon Nights” straight through to final track “Over and Over” feeling like a continuation of “Lonely Is the Word,” the searching, midtempo finale of the previous album. It didn’t sell quite as well as Heaven and Hell, and Dio and Appice left the band soon afterward, (though Dio‘s relationship with Sabbath would be complex and sprawling) leaving Black Sabbath to reconfigure throughout the ’80s with mixed results. Mob Rules and Heaven and Hell work well as each other’s companion pieces, making the first round of Dio-fronted Sabbath material a bright spot surrounded by relatively grim efforts on either side.
AFTER 1980’S HARDER and faster Heaven and Hell, there was reason to believe that singer Ronnie James Dio might pull Black Sabbath off the heavy-metal scrapheap. Didn’t happen. Mob Rules finds the band as dull-witted and flatulent as ever.
It isn’t easy to figure out exactly who deserves the blame for this sludgefest. Dio’s lyrics are insipid and clichéd, but since the vocals are usually buried in the mix, that’s only a minor annoyance. His bass rumbling like an overloaded truck, Geezer Butler is busy, busy, busy. But not quite as busy as guitarist Tony Iommi, who uses the album as an opportunity to demonstrate how swiftly he can play. (In case you’re wondering, he’s quicker than Mark Farner, not as quick as Johnny Ramone.) As for the new kid on the block, drummer Vinnie Appice, his thumping is so leaden and uninspired you have to listen twice to notice him.
The reason that Mob Rules is terrible is teamwork — not just thinking up lame riffs and dumb lyrics but also performing them as poorly as possible.
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Sending all our best to Mick Underwood and his family.
Apple Podcasts Reviews:
Exile 66 – UK – 5 Stars!
Excellent well researched informative and done with humour
This is excellent Loads of albums that in the past meant so much to me have been brought back to life over two hour chunks And respect is given to pre 1984 Whitesnake which are the best episodes for me
Postcards From The Edge . . . OF CONNECTICUT!
Another Joe Stump postcard coming in late!
And yet ANOTHER podcard!
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Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.
From the 2006 recorded live album from the ‘voice of Rock’, the talented bassist and vocalist who has played with Deep Purple, trapeze and others. For his first solo show in Australia in June of 2006 at the famed Sydney venue, Hughes brought his unique brand of Rock-Funk to a new audience. Indeed, this is one of Britain1s greatest Rock singers in acoustic mode, intimate and live, and his soulful, distinctive voice is in top-notch condition throughout.
On This track, Hughes returns to his legendary Deep Purple days for ‘This Time Around’
For his first solo show in Australia in June of 2006 at the famed Sydney venue, Hughes brought his unique brand of Rock-Funk to a new audience. Indeed, this is one of Britain1s greatest Rock singers in acoustic mode, intimate and live, and his soulful, distinctive voice is in top-notch condition throughout. The songs range across his career, taking in material from his solo albums like 1977’s Play Me Out to 2005’s Soul Mover and his newest release at that time, Music For The Divine
Watch Glenn Hughes from California Breed performing Breathe in this Planet Rock Live Session.
2014
St. Louis (AND BEYOND) Food Reviews
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John Mottola, from the Deep Purple podcast, asked me to give this album a listen. I did, for the first time. Let’s see what I think and what John taught me about the band and their second studio album. This is the fourth part of a 4 part series because that’s just what happens when John comes to visit.
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The band was only about seven months old at the time of recording.
They had already had a huge chart hit with “Hush” and were preparing to go on tour for “The Book of Taliesyn.”
Tetragrammaton worked hard to get them a US tour even though they were barely getting gigs in the UK at this point.
Tetragrammaton was looking for a British band along the lines of Hendrix or Cream to push in America and that’s why they latched on to Deep Purple.
They had headlining dates as well as this gig opening for Cream who were in the midst of a farewell tour and not getting along very well.
The tour was a nineteen city farewell tour starting on October 4th, 1968.
An article in Disc reveals Deep Purple will receive £80,000 pounds to perform with Cream on their upcoming farewell tour in the US for the twenty shows
Plans were then changed so that Deep Purple could finish their album The Book of Taliesyn. Most of it had been completed but ther was at least one song that wasn’t recorded until the beginning of October.
They arrived in Los Angeles on October 15, 1968. Jon Lord, in an interview with Chris Charlesworth: “It was a warm evening and there were palm trees everywhere. It seemed like paradise to us coming from our bedsits in cold England.”
Prior to the gig, on the 17th, The band had a famous performance on The Dating Game where Jon Lord was later a contestant.
Recorded at The Forum or The “Fabulous” Forum in front of 16,000.
Performance was on October 18, 1968. Opening for Cream as part of their farewell tour.
Someone at the Tetragrammaton decided to try out this new recording device during the show to record Deep Purple.
The show was set to be recorded by Deep Purple’s US record label, Tetragrammaton Records. They recorded a video from the audience with a Sony ½ inch reel-to-reel video and audio recorder with an open aire microphone. The video quality ended up being very low but the audio sounded very good. When Warner Bros. Records took over Tetragrammaton the original video was thrown away. Many years later it was recovered and The Deep Purple Appreciation Society transferred the audio portion for a CD release.
This video technology was cutting edge and was not really done properly.
There is so little live recording of Mark 1 that this is a rare glimpse into their live act. The only other real known recordings are are some of the BBC sessions and only one other full show from 1969.
This is likely the be the earliest recorded show by Mark 1 and likely the only video of a full show.
At this point Deep Purple had performed fewer than 30 live shows. If my calculations are correct this would have been their 27th live performance.
Simon Robinson points out in the liner notes that at this point Ritchie didn’t have a lot of experience being in a band being mostly a studio guy and playing some shows with other acts. It can be noted that Jon Lord tends to take more solos than Blackmore at this point.
Japenese tour poster sent in by Jeff Breis.
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Setlist:
Hush
River Deep, Mountain High
Mandrake Root
Hey Joe
Wring That Neck
Kentucky Woman
Rod announces that Kentucky woman was released on “Saturday” which would have been October 12th.
Help
Reviews:
Reviewers seemed to be surprised by the band though the referred to “gimmicky reworking of known songs” and deemed them not quite ready to be superstars.
The rumor is that Deep Purple was kicked off the bill after these first few shows because someone in Cream’s management was afraid of being upstaged.
Derek Lawson, being interviewed again by Chris Charlesworth, stated: “Ritchie was the first guitarist to play some light novelty thing in the middle of a hard rock number just for a laugh. Cream didn’t think it was funny but the audience loved it and what with ‘Hush’ being a hit single they wend down very well, probably too well.”
Rumor is that Cream may also have been upset by Hendrix coming to an after show party with Deep Purple and not with Cream.
Cream went on to finish the tour without Deep Purple and ended at The Royal Albert Hall on November 26th at The Royal Albert Hall.
Deep Purple would perform there less than ten months later when they performed Jon Lord’s Concerto For Group and Orchestra for the first time.
A cassette version of this show made it out on bootleg in Japan but the official CD issue didn’t come out until 2002.
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