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Episode 306 – Ozzy Osbourne – Speak of the Devil

This week’s episode is BANNED on YouTube!

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Lead up to the Album:

  • Ozzy’s management decided to record this album in February of 1982.
  • Sabbath’s publishing deal had just expired so all the songwriters would not benefit by re-recording these songs with new publishing royalties.
  • Sabbath was planning on releasing a live album (“Live Evil”) at the same time.
  • Geezer: “We couldn’t afford not to release Live Evil and Ozzy was forced into making Speak of the Devil.”
  • Randy Rhoads and Tommy Aldridge refused to do the album feeling that they’d established themselves as something separate from Black Sabbath.
  • While Sarzo wasn’t as upset about it he stood with the other two and told Sharon that they didn’t want to do it.
  • Sharon was not upset but it was reported that Ozzy was very upset and descended into what Rudy Sarzo called one of “the worst drinking binges I had ever witnessed.
  • It was during this binge that Ozzy was famously arrested for peeing on the Alamo.
  • In a drunken stupor he fired everyone in the band but later had no memory that he had done it.
  • It’s reported that Ozzy had confronted Randy on the tour bus telling him that he would replace him with Frank Zappa or Gary Moore for the live album.
  • Rhoads agreed to do this album and one more studio album to fulfill his contractual obligation to Jet Records but would leave the band after the next tour.
  • Originally it was planned to be “the greatest rock spectacle ever” according to Sharon Osbourne.  The show was planned to be video taped as well as recorded.
  • Everything changed a few weeks later when Randy died in a plane crash.
  • Bernie Torme took over guitar duties in the band for a short time until both parties decided to part ways.
  • Vito Bratta was the next guitarist considered as he was playing in a New York Black Sabbath cover band at the time.  However, he and Sharon did not get along.
  • Brad Gillis met with Rudy Sarzo to learn the songs as he was completely unfamiliar with Black Sabbath.  During his audition he nailed Rhoads’ parts and got the job.
  • On April 12, Gillis played his first show ith the band.  It’s said that Torme stayed on during these first few shows to help through the transition in case he was needed.  Gillis had traveled with them and learned the songs by watching Torme.
  • The band got together in September of 1982 to rehearse the songs but Ozzy was not around for the rehearsals.  Sharon had told them that he would not be around much.
  • The record company told Sharon that they planned to include previous live recordings of Rhoads doing “Iron Man,” “Children of the Grave”, and “Paranoid.”  Sharon told the band not to bother with those songs.
  • During this time morale was very poor and Sarzo was secretly recording the Metal Health album with Quiet Riot then finally made the decision to leave Ozzy’s band after this recording.
  • They only really saw Ozzy when he showed up for sound check on September 26, 1982.
  • Ozzy didn’t seem to remember the lyrics and during the shows he put a notebook with a lamp on a chair so he could read them during the concerts.
  • The audience at the was under 1,000 people at The Ritz.  Sarzo described the crowd as “rowdy.”
  • The Ritz had a smaller stage than they were used to and they weren’t able to use the same monitor setup leading to Gillis and Sarzo spending most of the shows directly in front of Aldridge so they could hear.
  • They used a mobile studio parked outside to record the show.
  • They were all dressed casually. Ozzy, showed up bald having shaved his head a few days before the gig.
  • The shows ended with “Iron Man” “Children of the Grave” and “Paranoid” and the band played a little looser, not keeping it as tight as they’d been informed that these performances wouldn’t be used.

Core Band:

Technical:

  • Producer, Engineer – Max Norman
  • Technician [Live Sound] – Chuck Weisner
    • Only other credit on Discogs is Van Halen’s “Live Without a Net.”
  • Mastered By – Joe Brescio

Album Art & Booklet Review

  • Design [Cover], Artwork – Steve Joule
    • https://krusher.co.uk/
    • Designed the cover for Diary of a Madman, Bark at the Moon and Black Sabbath’s Born Again.
    • Was art director for Kerrang!
  • Photography By – Neal Preston
  • The gatefold features a picture of John Edward Allen, Ozzy’s crew member who provided entertainment and comic relief on stage, as well as getting Ozzy drinks. Allen was also an actor appearing in Buck Rodgers and the film Bladerunner among many other stage performances. John also played one of the seven dwarves at the White House for President Jimmy Carter.
  • UK release was called “Talk of the Devil” as that is the more common phrase there.
  • There was also a Laserdisc release in Japan called “Speak of the Devil” which was a video of this band performing during the Diary of a Madman tour in June of 1982.

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The Venue:

Setlist

  1. Symptom of the Universe
  2. Snowblind
  3. Black Sabbath
  4. Fairies Wear Boots
  5. War Pigs
  6. The Wizard
  7. N.I.B.
  8. Sweet Leaf
    • This song was not included on the original CD release but was added back to the 1995 re-release.
  9. Never Say Die
  10. Sabbath Bloody Sabbath
    • Confirmed by Max Norman to be one of potentially three songs performed the afternoon prior to one of the shows in an empty venue. Crowd noise would have been added in post production.
  11. Iron Man / Children of the Grave
  12. Paranoid

Japanese Release Featured Two Bonus Tracks recorded at Irvine Meadows Amphitheatre on June 12, 1982 with the same lineup. Released as “Speak of the Devil” in Japan on Laserdisc.

Full video here: https://www.youtube.com/watch?v=TDy0B8sbVNc

Bonus tracks included on the Japanese release:

  1. Mr. Crowley
  2. I Don’t Know

Bootlegs of Shows Pre-Production:

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Speak of the Devil Laserdisc release from later in the 1982 tour.

Reception and Charts:

  • Sarzo and Gillis departed shortly after these recordings with Sarzo returning to Quiet Riot and Gillis returning to Night Ranger.
  • Ozzy was very upset with Sarzo and even assaulted him backstage at the US Festival in 1983.
  • Producer Max Norman said in an interview that due to budget constraints  the band had performed an entire extra show with no audience before the show on either the 26th or the 27th.  This was recorded as a safety.
  • Norman said that the final album contains three songs from that performance but does not remember which three.
  • Sabbath Bloody Sabbath was believed to have been from this performance as it isn’t listed on the set list of either show at The Ritz.
  • The live versions of the three songs with Rhoads eventually found their release on the 1987 album Tribute.
  • Osbourne was critical of the album. It filled a contractual obligation but he was not a big fan of the project.

Deep Dive Podcast Network:

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Episode 305 – Blackmore’s Night – Under a Violet Moon (Part 1)

Link to video episode on YouTube: https://www.youtube.com/watch?v=MVAvSnCHB8E

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Core Band:

  • Band [Blackmore’s Night Is], Guitar, Mandolin, Bass, Drum [Renaissance Drum], Tambourine – Ritchie Blackmore
  • Band [Blackmore’s Night Is], Vocals, Tin Whistle [Pennywhistle] – Candice Night

Additional Musicians:

Technical:

Album Art & Booklet Review

  • Artwork – Peter Pracownik
    • In the band “Mouse & Twink: Fairies”
    • Also did album art for Hawkwind
  • Photography By – Michael Keel
    • https://www.keelphoto.com/
    • New York photographer who does a lot of photo work
    • In music Keel has worked on photography primarily for Blackmore’s Night and Candice Night
Street in Rothenburg ob der Tauber (Bavaria, Germany) that the album cover is based on.

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Album Tracks:

All tracks written by Blackmore, Night unless noted. Instrumentals written by Blackmore.

  1. Under a Violet Moon
    • Backing Vocals – John Ford (2)
    • Bass – Peter Rooth
      • Credited on 4 Yngwie albums as his guitar tech
    • Merlijn writes: Ritchie did write some lyrics for this tune. And the melody is based on an tune from the Renaissance by Franco Flemish composer Ivo di Vento. 
  2. Castles and Dreams
  3. Past Time with Good Company
    • Arranged By – Blackmore*
    • Drums [Military] – Mike “Metal” Goldberg*
      • In 2015 won a grammy for best blues album for his album “Step Back” at the 57th Grammy Awards.
      • Engineer on the Baha Men album “Doong Spank” two albums before their breakout hit “Who Let The Dogs Out”:
    • Written-By – Traditional by Henry VIII*
    • Producer – Jeff Glixman
  4. Morning Star
  5. Avalon
    • Arranged By – Blackmore*
    • Written-By – Traditional
    • Producer – Ritchie Blackmore, Roy McDonald
    • Merlijn writes: Avalon: The Hunt is Up – English Hunting Song Main melody is copied. “The Hunt is Up” originally titled “The Huntes upp” is a 16th century ballad attributed to William Gray. The hunt is up was commonly associated to any song that would be sung in the morning. Shakespeare employs it as such in Romeo and Juliet (act iii, sc. 5).
  6. Possum Goes to Prague (Instrumental)
  7. Wind in the Willows
    • Drum Programming – Peter Rooth
    • Vocals, Bass – John Ford (2)
    • Producer – Jeff Glixman
    • Merlijn writes: The Wind in The Willows is originally called: Bread And Fishes, by Graham Bell. Ritchie heard it being perfomed by The Strawbs and liked it:Bread And Fishes
  8. Gone with the Wind

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Posted on

Episode 304 – Dio – A Special From The Spectrum

Link to video episode on YouTube:  https://www.youtube.com/watch?v=pogJEmtYaOc

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    • Purple Swede

The Venue:

Setlist

  1. Introduction*
  2. Stand Up and Shout
  3. One Night In The City*
  4. Don’t Talk to Strangers
  5. Mystery
  6. Egypt (The Chains Are On)
  7. Holy Diver*
  8. Drum Solo
  9. Heaven and Hell
  10. Guitar Solo
  11. Heaven and Hell (reprise)
  12. The Last in Line
  13. Rainbow in the Dark
  14. The Man on The Silver Mountain*
  15. Long Live Rock ‘n’ Roll*
  16. The Man on the Silver Mountain (reprise)*
  17. The Mob Rules
  18. We Rock

* denotes tracks played from bootleg audio source not included on original VHS release

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Posted on

Episode 303 – Album Ranking: Fireball

Link to video episode on YouTube:  https://www.youtube.com/watch?v=wABW-hDxjjs

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Postcards From The Edge . . . OF CONNECTICUT!

  • Our last card from Florida!

Album Song Ranking:

DPP and Patron rankings, song-by-song.

Nate Experiments with Photoshop’s Generative AI

Nate offering you his hand.
Nate’s power fist.
Nate’s uncomfortably beefy arm.

As mentioned on the show Nate has manually been cropping and filling in shoulders for almost 6 years now. Could he harness the power of the latest Photoshop’s generative AI to make this task easier? Here’s what happened when he attempted to generate the remaining arm for his own picture.

John’s replacement #1.
John’s replacement #2.
John’s replacement #3.

In lieu of completing John’s arm int he picture it gave us a new “John” all together! Check out Nate’s Angels, the new co-hosts of the podcast! Let us know which co-host you want to see replace John!

This is what AI thinks John would look like with a crown. Something about John looks different. Must be the crown!

And, of course, a teaser for an upcoming episode. Behold “medieval king” John.

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Ritchie, on his bike, late to cello lessons! Photo origin unknown, scan courtesy of Arthur Smith!

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Episode 302 – Remembering John Sykes

Link to video episode on YouTube:  https://www.youtube.com/watch?v=nVgxGdRPltA

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  • This week we get a postcard from Georgia and a thematically appropriate postcard from Ireland!

Track List:

  1. Streetfighter – She’s no angel (1980)
    • Sykes made his recording debut on the Streetfighter track “She’s No Angel”, which appeared on the New wave of British heavy metal compilation New Electric Warriors in 1980.[6]
    • https://www.discogs.com/release/4230683-Various-New-Electric-Warriors
  2. Tygers of Pan Tang
  3. After leaving Tygers of Pan Tang, Sykes auditioned for Ozzy Osbourne‘s band and was briefly a member of John Sloman‘s Badlands.[5][4] Despite a few shows and Sloman procuring a recording contract with EMI, the group ultimately broke-up.[9]
  4. Thin Lizzy
  5. Whitesnake & John Sykes – Crying in the Rain – Rio de Janeiro 1985.01.19

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  1. Blue Murder
  2. Solo
  3. HTP
  4. Sykes-fronted Thin Lizzy

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We discussed John’s final single “Dawning of a Brand New Day” in an after credits segment on the audio podcast.

What Rockers Are Saying About John Sykes:

  • Neil Murray:
  • Glenn Hughes:
    • https://www.facebook.com/glennhughesonline/videos/948649327240433
    • Heaven’s Missing An Angel
    • There are no words to describe how I feel about John’s guitar playing. He was absolutely a phenomenon.
    • Here’s a song that we wrote together called “Heaven’s Missing An Angel”. What an amazing solo on this song & Honored to have John join me on vocals.
    • RIP Dear one. The angel is now in heaven,
    • Love you 🙏 🩵
  • Carmine Appice:
    • https://www.facebook.com/CarmineAppiceOfficial/posts/pfbid02H4QTKV39RFHKDxYr46y1KjPinyiUkUGLSxUhhxz798E6Q6dLL3aPEKvfdwnvfsT3l?ref=embed_post
    • I’m am saddened about the news of my band mate John Sykes . I’m shocked about his passing 🥲 . We played such great music and had such great times together . Check out Blue Murder 1, and The Cry of Love albums. John’s playing, writing and singing were amazing …I loved him like a brother. We lived close to each other when we were in Blue Murder we hung out everyday. He was an amazing guitarist and together with Tony Franklin on bass we had a great rock trio.
    • He will be missed. ❤️❤️RIP brother John . Check out Blue Murder on MTV in 1989 John played great on this.
  • Doug Aldrich
    • https://www.instagram.com/p/DFEEZioS4m9/?utm_source=ig_embed&utm_campaign=loading
    • I’m so sad to hear the news that John Sykes has passed away from Cancer:(
    • Prayers and Thoughts to his family and fans throughout the world. He’s up there now with Eddie Gary Randy Jimi and a whole lot of our hero’s.♥️
    • I met John several times and I’ll never forget the conversations we had. Was always really nice.
    • He was a funny and cool guy that was fierce on the guitar and sang his ass off.
    • We will miss ya John but thank you for the inspiration💯💕💕
  • Mike Portnoy:
  • Adrian Vandenburg
  • Michael Schenker
  • From Rich “Yong-Way” Shailor
    • Got meet him a few times, VERY nice guy. Always had a coffee cup but I’m not sure it was coffee. We were standing next to each other watching Joe Satriani from the side of the stage. As he passed me a beer Roger got me from a cooler I looked over at them and said “I wonder what it’s like to be the other guitar player in Joe Satriani’s band “ he laughed and said I never thought about that before. I said “that’s because you are never the OTHER guitar player in the band” he understood the compliment and gave me a cheers.
  • David Coverdale
    • Just heard the shocking news of John’s passing…My sincere condolences to his family, friends & fans…

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Episode 301 – Fandango – Last Kiss

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    • Hello, I’m Lauri (also known as Sicktone on the internets). How did I get here? Well, in early 90’s I browsed a…book – yearly, very common Finnish book series. There was something written about “heavy metal” and Deep Purple was mentioned. Next weekend during a casual visit at a local library, noticed a Cassette (yes they were still common) with that band name on it. Got the cassette, entered a parking lot and my dad’s car. He was blasting out Beethoven. I asked if I could have a little listen to this DP cassette. “Well why not although it’s not my thing…”. Oh, organ intro turned into massive blast of power. Now you know the album — In Rock it was. We listened the first half of the Cassette on the way home and got a “Hmm, that was energetic and went into lots of places and I have to mention Beethoven…”, dad said. Been a fan since then! I might have been abt 12-13 years old. Of course, Rainbow and all the “family” bands/projects were found quite soon from the library. And much later, on the internet. Now I’m here writing an overly long introduction, listening to Paice Ashton Lord. Because Paicey just shines on those tracks (too). As a drummer of some kind, Paice always grabs my attention. So in short, hello and thanks for making the podcast!
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  • hh

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Core Band:

  • Lead Vocals, Guitar [Lead Guitar] – Joe Lynn Turner
  • Percussion – Walter Santos (11)
    • Credits with Fandango
    • Also did his own “Street Corner Symphony” albums
    • Was previously in the Stanky Brown Group
  • Piano, Organ, Synthesizer [Moog], Strings, Clavinet – Larry Dawson
    • Went on to record with Jaguar and Deep Forest
  • Vocals, Bass Guitar – Bob Danyls
    • Just a few credits outside of Fandango
  • Vocals, Drums – Lou Mondelli
    • Went on to work with the Lundstrom Singers and The Payne Brothers
  • Vocals, Guitar [Lead & Slide Guitars] – Rick Blakemore
    • Discogs lists him as going on to work with Girlschool and Ted Nugent but I can’t find any other sources to verify this
  • Vocals, Piano, Organ – Denny La Rue*

Additional Musicians:

  • Arranged By [Strings], Conductor [Strings] – David Campbell
  • Harmonica – Jimmy Hall (tracks: A5)
    • First credit is from 1957 on Discogs. He was born in 1949 so They may have him confused with a country music composer named Jim Hall.
    • Other credits include Kiki Dee, Grand Funk Railroad and Wet Willie
  • Vocals – Jimmy Hall (tracks: A2)

Technical:

  • Engineer [Assistant] – David Ruffo
    • https://www.davidruffo.com/
    • Lots of credits through the early 2000s
  • Engineer [Assistant] – Sean Fullan
    • Started out working in Europe alongside Glyn Johns
    • Worked with The Rolling Stones, Duran Duran, Metallica, and Lou Reed but not Metallica and Lou Reed.
  • Engineer [Recording and Remix] – Gus Mossler
    • Worked with John Denver, National Lampoon and Nilsson, but not the creepy bathrobe album.
  • Producer – Neil Portnow
  • Production Manager [Production Assistant] – Paula Jeffries
  • A&R – Marge Meoli
  • Management [Artist Direction] – Ed Newmark Associates, Inc.

Album Art & Booklet Review

  • Art Direction – Gribbitt*
    • 400+ credits on Discogs including Frank Sinatra, Donna Summer, Parliament, Joe South, and Barbi Benton
  • Art Direction – Tim Bryant (2)
    • Art director at RCA
    • Worked with Doc Severinsen, Sun Ra, The Four Tops, Poco, and The Legendary Lefty Frizzell
  • Design [Fandango Logo] – Peach Arts
    • Only credits are the first two Fandango albums
  • Photography By – Ron Slenzak
  • Illustration – Ed Scarisbrick
    • The project he worked on directly before this was the cover for Cheech and Chong’s Up in Smoke, also worked with Gary Wright and B.B. King

Inner sleeve acknowledgements:

SPECIAL THANKS to Ian Copeland and everyone at Paragon, Art Robbins & Johnnie, Ken Newman, John Davis, Paula Jeffries, Tom Flynn and Peach Arts, Butch Wright, Les Sobel, Jeff Kievit, Greg Hanley, Wet Willie, Victor’s House of Music, Mascara Music, the memory of Joe Polizzi, Buzz Bland, Paul Brennan, Tom Durbvrow, Alan Grubman, Sherry Thomas, Jan DeGeer, The “P” Town Boys, Rick & Ted & The Boys from Anaheim, Shawn and Dave, Joe Pollard & Syndrums, C & C Case Co. and Ed, Gus and Neil.

Mixed with the use of the Aphex Aural Exciter.

Jimmy Hall appears through the courtesy of Epic Records by special arrangement with Sound Seventy Management Inc.

Manufactured and distributed in Canada.

Released with a printed inner lyrics-sleeve.

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Album Tracks:

Side One:

  1. Last Kiss (Danyls, La Rue, Turner, Dawson, Blakemore)
  2. Sure Got The Power (La Rue, Blakemore)
  3. Mexico (La Rue, Turner, Blakemore)
  4. Losin’ Kind Of Love (Turner)
  5. Hotel La Rue (La Rue, Blakemore)

Side Two:

  1. Feel The Pain (La Rue, Turner, Blakemore)
    • Written-By [Synthesizer Introduction], Synthesizer [Introduction] – Larry Dawson
  2. City Of Angels (La Rue, Blakemore)
  3. The Mill’s On Fire (La Rue, Blakemore)
  4. I Keep Going/Hard Bargain (La Rue)

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Postcards From The Edge . . . OF CONNECTICUT!

  • Representing Florida once again!

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Episode 300 – The 300 Club

Link to video episode on YouTube: https://www.youtube.com/watch?v=vAI6Ztw2xas

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Landmark 300th Episode

Bustin’ Out The Spreadsheet

50th Anniversary of Some Huge Deep Purple Historical Events

The 300 Club

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Bonus Tracks Steve Morse

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Episode #299 – Deep Purple – inFinite (Part 2)

This episode is BANNED on YouTube. Please see one of the links below for a superior audio experience.

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Album Tracks:

  1. The Surprising
    • Deep Purple “inFinite” Track By Track – “The Surprising”
    • Deep Purple “The Surprising” Official Music Video
    • Roger:
      • Steve started played this pretty chord sequence, and it sounded great. We all joined in a we jammed around it. I gave it the working title of “The Surprising Mr Morse” because it was a surprising thing he played.
      • They’re Ian Gillan’s words, and I suppose it’s about temptation, but they’re ambiguous, and I like ambiguous words. People can read want they want into it. People will anyway, even when you spell it out. Smoke On The Water is completely literal, and yet a DJ once asked me if we really set fire to an island. You can’t stop people putting their own meaning to a lyric.
  2. Johnny’s Band
    • Deep Purple “inFinite” Track By Track – “Johnny’s Band”
    • Deep Purple “Johnny’s Band” Official Music Video from the album “inFinite”
    • Roger:
      • Johnny’s Band was almost a pop song. Steve came up with the idea, and not all the band liked it at first: Ian Paice thought it was a bit flippant, but Ian Gillan loved it, and eventually we decided to do it. We knew what the meter of the song was going to be, and realised it needed something really strong over the chorus to make it work.
      • I was thinking about VH1’s Behind The Music, and that every band’s story is the same. They start with nothing, then they get some success, then they get huge success, then drink and drugs and women destroy them, then they end up suing each other, then 20 years later they get back together again because they realise it was the best time they ever had. Johnny’s Band is the story of every band. It’s a universal story. But it’s not about Purple! There’s a reference to Louie Louie in the guitar solo that places it firmly in the 60s.
  3. On Top Of The World
    • Tommy Denander – Additional Guitar
    • Tommy Denander – additional guitar (track 8)
    • Deep Purple “inFinite” Track By Track – “On Top Of The World”
    • Roger:
      • It’s based on one of Gillan’s true stories, and it happened to him a long time ago, I think in Kuala Lumpar. He had one of those nights, and ended up on top of a building where all the hookers and street dancers lived. He was telling us this story, and Bob [producer Bob Ezrin] wanted to fit the story into the backing track, but it’s too long, and by the end of the afternoon they’d agreed that it wasn’t working.
      • I had an idea, and condensed the story into a shorter form, but it was still too long for a song. We were just on the point of abandoning it, and I thought, “why don’t we just do something at the end?” And that’s how it came about.
  4. Birds Of Prey
    • Deep Purple “inFinite” Track By Track – “Birds Of Prey”
    • Roger:
      • We stated working on a riff I had in the rehearsal room, and after a brief arrangement we did a first take, and I still love that take. We just had so much fun with it because it was so hard and heavy. On the recorded version the ending goes around two or three times, but on the jam we had it goes on 10 or 12 times. We just couldn’t stop playing it. Steve and Don swap solos, and there’s a lovely sense of freedom about it.
      • People say that they want peace, but it occurred to me that we’ll never have peace. The world has never had peace, and it never will, because the natural state of human beings is conflict. It’s wishful thinking: we’re always going to be at odds with something, and I wanted to say something about that. My first image was 9/11 — hence Birds Of Prey — but it goes way beyond that.
      • One of the things I really like about the song is that it doesn’t repeat itself. It’s not verse-chorus-verse-chorus-solo. It takes you on a journey.
  5. Roadhouse Blues
    • Deep Purple “inFinite” Track By Track – “Roadhouse Blues”
    • Roger:
      • This was Paicey’s idea. On Now What?! we didn’t Jerry Lee Lewis’s It’ll Be Me [it featured on the Deluxe Editions] purely for fun, and Bob suggested we pick another old track. We spent about a minute thinking: Bo Diddley? Bob Dylan?
      • Then Paicey related this story about working with tribute bands when he’s off the road, to keep his hand in and to keep fit. They were doing Black Night, and at the end the singer went into Roadhouse Blues. So he suggested it, and Bob said, “that’s it! Let’s do it!” It took less than half an hour, and it’s all live: vocals, harmonica, the lot.

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Bustin’ Out The Spreadsheet

Reception and Charts:

Reviews

  • https://www.sputnikmusic.com/review/73591/Deep-Purple-inFinite/
    • Deep Purple
    • inFinite
    • 3.5
    • great
    • Review by manosg EMERITUS
    • April 29th, 2017 | 77 replies
    • Review Summary: Aging gracefully.
    • What comes to your mind when you think of Deep Purple? Most of you might mention the screams, the guitar pyrotechnics, the wild improvisations, and legendary songs such as “Child in Time” or “Highway Star”. Now think that all these lasted less than 5 years and that the present incarnation of the band is the longest-standing in Deep Purple’s history!
    • Some of you may think that this introduction is irrelevant or wonder how it blends with the Deep Purple of today. Well, it may or may not blend seamlessly but the reality is that inFinite has absolutely no similarities with the golden days of Mark II besides the fact that it is performed by 3/5’s of the classic Deep Purple line-up. In addition, one cannot compare the two eras simply because the two main soloists are very different in style and sound. Therefore, let us remove from our minds any such thought and focus on the present.
    • inFinite – with its Devin Townsend-esque cover art – is an album with flashes of brilliance and pure class but at the same time slightly uneven as it includes a few run-of-the-mill songs and a couple innate deficiencies. As a whole, like previous effort Now What?!, it’s being dominated by Don Airey – who once again has done a marvelous job – and Steve Morse. Their interaction manages to make interesting even the more unremarkable tracks. For example, “Hip Boots” starts off as simple boogie but would border on filler without the two soloists’ contributions and “Time for Bedlam” really takes off during the keys and guitar interplays. Nevertheless, that is not always the case as “Get Me Outta Here” which is based on a slowed-down pattern of “Body Line” from Now What?! feels like it lacks a certain direction, a drive.
    • What is more, Deep Purple were never known for their deep lyrics and inFinite is no exception. However, the stories behind “One Night in Vegas” with its playful barroom piano melody and “On Top of the World” are absolutely hilarious for those of you who care to make some research.
    • Moving on, where Purple’s latest LP really succeeds, is on the slower, more atmospheric and progressive songs; songs you can add to the list of underrated gems along with “Sail Away” and “Strangeways”. It is hard to imagine how a band with so many miles and hours of music on their resume can still write a song like “Surprising”; it begins like a normal slow rock song but at the 2-minute mark turns into a truly evocative and eerie prog beast to the point where it creates a feeling of awe. “All I Got Is You” is one of the most melancholic tracks but at the same time oozes of confidence, quality and features one of the LP’s best performances by Ian Gillan who intentionally is more restrained on this album. Moreover, “Birds of Prey” is the one track where I would be content if it’s proven Purple’s swan song. Listening to Morse’s emotional solo – whose playing is more bluesy and less fusion-y on here – during the song’s final two minutes, evokes images of the band throughout the years, from Montreux to the land of the rising sun. “Roadhouse Blues” might be the real closer but as they say, “never let the truth get in the way of a good story”; for me, if it ends here, it ends with Morse’s solo.
    • For all we know, inFinite may very well be Deep Purple’s final stand and, for what is worth, it cannot be compared with anything that the legendary act released in their heydays. However, try to think of bands that play like Deep Purple and you will probably fail to recognize even one. inFinite with all its limitations, is an apotheosis of character and talent; the work of a group of men who feel comfortable in their own skin and comfortable with each other, which is weird to even fathom when we come to think of the history of the band. At the end of the day, if this is how this story ends, it is a happy end after all.
  • https://www.loudersound.com/reviews/deep-purple-infinite-album-review
    • Deep Purple – InFinite album review
    • Follow-up to 2013’s Now What?! from the last original hard rock behemoths standing.
    • W ith an album titled InFinite and a concurrent live foray called The Long Goodbye Tour, Deep Purple seem to be sending out contradictory messages. Do they intend to go on forever, or as long as physiology dictates (drummer Ian Paice suffered a mini stroke last year), or are they about to call time on their near five-decade career and join Led Zeppelin and Black Sabbath in the retirement home for priapic rock pioneers?
    • Vocalist Ian Gillan has been unclear in the run-up to the release of their 20th studio album, talking obliquely about metaphysics, the Big Bang and the nature of time. Fortunately, keyboardist Don Airey has been more prosaic on the meaning of InFinite. “It’s a little heavier than the last one,” he said recently. “It’s a bit more prog, as we say in England.”
    • Whatever the truth about their future, the band are certainly on something of a late-period roll, with What Now?! earning largely favourable reviews and charting high – even at pole position – across Europe and Scandinavia. The aim here would appear to be to repeat its success.
    • InFinite, like its predecessor, was tracked in a studio in Nashville, Tennessee and helmed by Bob Ezrin, one of the few producers whose work with Lou Reed, Alice Cooper and Pink Floyd genuinely merits the epithet ‘legendary’. The results have been mooted as possibly the most ‘70s’ of any Deep Purple album since 1984’s reunion album, Perfect Strangers.
    • The clues – ‘heavier’, ‘prog’, ‘70s’ – are all there: InFinite definitely won’t disappoint fans of classic Purple. It’s a feast of wanton organ and quasi-classical keyboard curlicues, bolstering bass from Roger Glover and percussive surges courtesy of Paice. Gillan, meanwhile, is in grand over-the-top form, trying a little too hard, perhaps, to keep up with the heavy metal kids, effing and blinding throughout. Elsewhere, he’s ‘three sheets to the wind’ in One Night In Vegas, while On Top Of The World finds him variously lying ‘beside the most beautiful girl in the universe’ and ‘collapsed between the eyes of Morpheus’.
    • It’s colourful and inadvertently comical stuff, but there’s no denying that the music is worth taking seriously, from the rampaging opener Time For Bedlam and exotically textured The Surprising to the Zep-ish Hip Boots and Birds Of Prey. The album closes with a perfunctory cover of Roadhouse Blues, but InFinite works best when Purple do what they do best: extrapolate and alchemise the blues, and take it to new progressive heights.
    • Paul Lester
  • https://www.allmusic.com/album/infinite-mw0003015084
    • InFinite Review by Thom Jurek
    • No one, least of all Deep Purple themselves, expected the success of 2013’s Now What?! It placed at number one on four European album charts and in the Top Ten of six other countries. It also sold exceptionally well: It was certified Gold in Poland, Germany (where it sold over 100,000), the Czech Republic, and Russia — it was the band’s first album to crack the U.K.’s Top 40 charts in 20 years.
    • For InFinite, Deep Purple re-enlisted producer Bob Ezrin. At this point, he is almost a sixth member. This the longest running lineup in their history. InFinite is a heavier and more expansive record than its predecessor, but it’s not as consistent. Ian Gillan is in excellent form — still possessing intense expressive power and range, his falsetto remains intact four decades on. Don Airey‘s organ and keys — so elemental in DP’s musical architecture — is physical, atmospheric, and dynamic. He and guitarist Steve Morse combine brute force with imagination and finesse. Ian Paice, who had a mini-stroke last year, seems to have recovered fully. Roger Glover remains a bassist whose musical signature is so dominant it is only rivaled by Black Sabbath‘s Geezer Butler.
    • Things get off to a great start with “Time for Bedlam.” Despite its slightly corny sci-fi spoken intro with Gillian’s voice put through a processor, it acquits itself with a massive swirling charge worthy of the band’s glory years. It also features Gillan‘s best lyrics — he tends to go over the top elsewhere. It’s followed by the commanding blues-rock boogie of “Hip Boots,” where Gillan‘s swagger rises above a biting mix of snare, kick drum, and dual leads from organ and guitar; but it’s actually Glover who drives the tune. On tracks such as “All I Got Is You” and “The Surprising,” this outfit doesn’t let the listener forget they’re the same band who delivered “Child in Time” and “When a Blind Man Cries.” The latter is downright prog as it melds power ballad to metal in a gorgeous mix that includes wonderfully layered backing vocals and Airey‘s neo-classical keys that evoke the memory of Jon Lord. While the musical attack in “One Night in Vegas” offers a pumping barrelhouse blues piano woven into the hard rock bombast. “On Top of the World” has the craziest Gillan lyrics ever, but again, DP’s crunchy choogle carries them to the finish line. The evocation of vintage psychedelia and Led Zeppelin in “Birds of Prey” makes it one of the more compelling tunes here. Unfortunately, there are two clunkers that sound like filler: the terribly clichéd “Johnny’s Band” and a perfunctory read of the Doors‘ “Roadhouse Blues.” Otherwise, InFinite is a winner; it proves not only that Now What?! was no fluke, but that Deep Purple, even at this stage, still have plenty left to offer musically and creatively.
  • https://www.laut.de/Deep-Purple/Alben/inFinite-106640
    • Still, if this were Deep Purple’s very last record, it would be a brilliant departure. This combination of old virtues with a certain modern harshness and a touch of intangible melancholy: very impressive. With all the diversity of ideas and compositional freshness on this album, it is difficult to believe that the grand masters of hard rock will finally come to an end.
  • https://www.thehighwaystar.com/thsblog/2017/04/05/infinitely-yours-the-highway-star-reviews-infinite/
  • https://progreport.com/deep-purple-infinite-album-review/
    • Review of the new Deep Purple album, inFinite, out April 7th, 2017
    • Not many bands are able to claim to have 20 albums to their name, and in many cases, if they do, the 20th album certainly might not be very good.  Yet, here we have another Deep Purple album, their 20th to be exact, and for a band that continues to play live as good as they ever have, its no surprise that their new album, ‘inFinite’, is their best in years.  Not since the ‘Purpendicular’ album, their first with then new guitarist Steve Morse in 1996, have the Hall of Fame legends put together such a concise, focused, and brilliantly written group of songs from beginning to end.
    • The group’s last effort, 2013’s ‘Now What?!’ was indeed solid and their first with veteran producer Bob Ezrin, who returns for this album.  The decision to go with Ezrin again proves to be a fantastic idea, as it is obvious that the producer knew the second time around which buttons to push and how to build on the good from the previous record.  All around the performances are solid, from the heavy booming rhythm section of Roger Glover and Ian Paice to the organ work from keyboardist Don Airey.  But once again it is the genius guitar work of Steve Morse and the never aging vocals of Ian Gillan that make this material soar.  Morse is more understated on this album than before, but his solos are still something to behold, while Gillan sounds as good as ever.
    • The album opens with the powerful, prototypical Purple rocker, “Time in Bedlam” where the groundwork for the album is laid, while the album’s second track “Hip Boots” is pure groovy roots rock.  But the 3rd track and the lead single from the album “All I Want Is You” is outstanding and one of their best in recent memory. Paice’s perfect timing on the opening slow groove sets the stage for the explosive work from Airey and Morse once the song picks up.
    • Other highlights include the Bossa Nova groove, progressive track, “The Surprising” which is a haunting and captivating track with a brilliantly placed hook that keeps you tuned in, and the track “Birds of Prey” a track that is Deep Purple at its heaviest, with a tremendous close out layered with Morse’s guitar mastery.
    • For anyone that thought this band was done, this album is proof it couldn’t be further from the truth.  Not only is ‘inFinite’ a great Deep Purple album, it is one of the best rock albums you’ll hear this year.

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Episode #298 – The Deep Purple Podcast New Year’s Special (2024)

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