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Episode #60 – Rainbow – Difficult to Cure (with Chris L from Pod of Thunder)

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Lead up to the Album:

  • Cozy left the band, not happy with the commercial direction they are going.
  • Bobby Rodinelli came in to replace Powell.
  • Graham Bonnett says that rehearsals for their fifth album were really unproductive.  The only song they really had was “I Surrender” and they were just getting nothing done.  Ritchie was rejecting anything they brought to him so Bonnett just decided to leave the band.
  • Jon Lord was publicly critical about Blackmore’s “hire and fire” approach.  In Jerry Bloom’s “Black Knight – The Ritchie Blackmore Story.”   Lord: “I will never understand why he had to change it.  Cozy Powell was a great drummer and Graham Bonnet is an amazing singer . . . He [Ritchie] doesn’t have to fight anymore.  The moment he encounters another opinion, he changes the band.  So the energy might get lost in that situation.  He just avoids conflict now, like the one he had with me in Deep Purple.  I wasn’t about to let him have all the spotlight and that resulted in all the duels that we had, which became a trademark for Deep Purple.  He doesn’t have that now in Rainbow.  The only guy that used to be like that in Rainbow was Cozy Powell.”
  • The four remaining musicians continued to work together to write for the album without a vocalist.  This may account for why each side is ended with an instrumental.
  • They recorded all the instrumentation in Denmark at Sweet Silence Studios in Copenhagen with Joe Lynn Turner recording his parts at Kingdom Sound in Syossett, New York.
  • Most of the backing tracks were recorded but they still didn’t have a singer.  Ritchie talked to Barry Ambrosio, the same person who’d introduced Rodinelli to Blackmore, and he said, “I know this guy Joe.”
  • JLT, when Ambrosio asked if he was familiar with Rainbow: “To be honest with you I was completely into other genres of music.  I was studying jazz guitar and I was into more like the Eagles and stuff like that . . . “
  • The truth is Joe didn’t believe Ambrosio at first, thinking he was playing a prank.
  • Joe Lynn Turner had just left Fandango.

Personnel

Album Art & Booklet Review

  • According to Joe Lynn Turner none of the band was around for the photo shoot and it was just members of the Hipgnosis design team dressed as doctors.
  • This cover was rumored to have been offered to Black Sabbath for the cover of “Never Say Die.”  Apparently this company routinely would have covers they really liked and they would offer them to bands.  So it had been around for a few years at this point.
  • Of the album title, Joe Lynn Turner says in Martin Popoff’s book “Sensitive to Light”: “We were difficult to cure; everybody in this business was, you know?  IT was almost like we had this disease and really couldn’t get around it.
  • Glover says that it came from a dirty joke and there was nothing else behind it.  Glover also claims that the title “Down to Earth” was about the band literally returning their subject matters to things of this world, boy/girl stuff, not wizards.
  • The lead surgeon on the cover is George Galatzin, while the back up surgeons are Peter Christopherson, Storm Thorgerson, John Blake, George and his mate. The nurse is Jill Furmanovsky.

Technical:

Album Tracks:

Side one:

  1. I Surrender (Russ Ballard)
    • Songwriter behind “Since You Been Gone” and . . . “God Gave Rock and Roll to You”
    • Peter Criss recorded “Let Me Rock You” and “Some Kinda Hurricane “ on his 1982 album “Let Me Rock You.”
    • Ace Frehley covered “New York Groove” on his self-titled solo album in 1978.
    • Bonnett says he had done vocals to this song and backing vocals before he decided to leave.
    • JLT says he heard Bonnett’s vocals being wiped before each track he did.
    • This ended up being Rainbow’s biggest hit reaching #3 in the UK charts.  It reached #19 in the US charts.
    • Ritchie described this as “a classical chord structure, more of a Bach structure or a Handel.”
  2. Spotlight Kid (Blackmore, Glover)
    • Joe Lynn Turner said that Roger Glover told him the song was about him.
  3. No Release (Blackmore, Glover, Airey)
    • Blackmore acknowledges Zeppelin influence as well as Hendrix’s “Gypsy Eyes.”
  4. Magic (Brian Moran)
    • According to Jerry Bloom’s book, “Black Knight” Moran was a friend of Ritchie’s
  5. Vielleicht Das Nachster Zeit (Maybe Next Time) (Blackmore, Airey)
    • This was a mis-translation from the German.  Later it was corrected to “Vielleicht Das Nächste Mal (Maybe Next Time)”.  This is still not correct.  The proper German for “Maybe Next Time” is “Vielleicht beim nächsten Mal”.
    • Inspired by Ritchie’s love of Germany.  His first two wives were German and his first son, Jurgen.
    • Ritchie said it’s a very sad song about a woman who has been left high and dry and is miserable.

Side two:

  1. Can’t Happen Here (Blackmore, Glover)
    • There’s a video for this one but JLT admits to them not really getting the video medium at this point.  It is basically them playing live interspliced with video of weird war footage and cartoon hijinx.
    • Wonder if it was related to the Sinclair Lewis book.
    • Oddly reminds me of the “Holy Wars” video.  Probably using some of the same footage.
    • Song is about environmental concerns.
    • They won an award at Cannes for the video.  In Martin Popoff’s book “Sensitive to Light” Joe says he got the call back stage after a show that they’d won.  He yelled over to the band to tell them and they all yelled “Fuck off!” back to him.  So he yelled “Fuck off!” into the phone and hung up.
  2. Freedom Fighter (Blackmore, Glover, Turner)
  3. Midtown Tunnel Vision (Blackmore, Glover, Turner)
  4. Difficult to Cure (Beethoven’s Ninth) (Beethoven, arranged by Blackmore, Glover, Airey)
    • Song ends with a sampled laugh from Laurel and Hardy’s “Way Out West” from 1937.  It fades but on the record it was supposed to loop endlessly in the play out groove.

Reception and Review

  • Glover said he wasn’t quite happy with the album.  He thought that the fans may not like it either.  It wasn’t fully developed.
  • Ritchie had expressed his appreciation for Foreigner.
  • Ritchie didn’t care for JLT’s theatrics right off the bat.  JLT says, “. . .  still like to get in the audience’s face, like an American.  As opposed to the English pompous Coverdale twirling mic stand routine.”
  • Ritchie says: “. . . he was a little bit effeminate with his projection on stage.  Most of the fingers we had in the band were more hard-edged.  And Joe had this way of skipping across the stage, and laying on speakers.  We used to call him Judy now and again, as in Judy Garland.  We’d tell him, don’t do that because it looks a little bt Liberace-ish, you know?”  Ritchie goes on to say, “I uch preferred him in the studio.”
  • At first Turner was heckled by the UK crowds.
  • Rit

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  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #59 – Rainbow – Long Live Rock ‘n’ Roll

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Lead up to the Album:

  • Began recording in April of 1977 at Chateau d’Herouville, in France.  They ended up here because Musicland, where Ritchie had recorded his previous albums, was booked.
  • Tony Carey initially played keyboards and Mark Clarke started on bass.
  • Carey was allegedly let go because Blackmore didn’t think his improvisation was up to snuff.
  • Jimmy Bain was also let go.  Of course Bain had been pranked by Blackmore including having his bed set on fire . . . while he was in it!  Bain leapt out of bed and threw the burning sheets out the window.
  • In Colin’s Hart’s book “A Hart Life” he paints a different picture of the bullying of Carey.  He’s a little more sympathetic to Ritchie stating that Carey was very much into drug use and that Ritchie hated drug use.  He says that they more that Carey’s drug use increased, the more Ritchie tormented him.  But it could been the other way around.
  • Jerry Bloom says in this book that Carey would be out of his room from 7am to 3pm then back to his room with the door bolted shut while everyone else recorded.
  • After firing Carey they couldn’t find a replacement so Blackmore hired Carey back as a session musician for the album.
  • Clarke was let go from the band and Blackmore played the bass on a series of demos of seven tracks.  Clarke was a fingerstyle player and Blackmore insisted that a pick be used.
  • Australian bass player Bob Daisley and Canadian David Stone were hired as replacements where they went on a tour of Europe in the summer and fall of 1977.
  • They recorded and released “On Stage” before returning to the studio to finish this album.
  • Gruber was re-hired for about a month until Daisley came on board.
  • Daisley recorded three songs and Stone recorded four.
  • The studio, Chateau D’Hereuville was in Paris.  Jethro Tull had used this studio and renamed it “Chateau D’isaster.”
  • It was a spooky castle and there were lots of Ouija boards and seances taking place.

Personnel

Additional

Album Art & Booklet Review

  • Design – Maxi Chan
    • Did covers for the Isley Brothers and James Brown
  • Directed By [Direction] – Bruce Payne
    • Manager with Rainbow, Deep Purple, and Cozy Powell
  • Illustration – Debbie Hall (3)
    • Only credit on Discogs
  • Simple album cover.
  • Insert was a picture from a Rush concert.  The banner originally said “Plymouth welcomes RUSH, touring North America 1977.”  This was altered and the Rush T-shirts were airbrushed to remove the logos.
  • Why they didn’t photograph an audience at one of their own shows is confusing.  Especially since they’d even managed to use live shots for Blackmore and Elf on their first album to give the appearance that that lineup had ever appeared live.
  • In Martin Popoff’s book “Sensitive to Light” he says Geddy Lee “Flipped his lid” when he heard about this.

Technical:

Album Tracks:

Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side one:

  1. Long Live Rock ‘n’ Roll (Blackmore, Dio)
    • Blackmore on bass.
    • Carey on keys.
    • This was a fixture of the live set starting in 1977.
    • It was released as a single with “Sensitive to Light” as the B-side.  Made it to #33 in the UK charts.
    • Ritchie says he came up with the riff then asked Dio to sing “Long Live Rock ‘n’ Roll” because it fit with the riff.  He said Ronnie would probably come up with something better but he kept it.  Ritchie said he was proud because he came up with a lyric for a song which was very rare.
    • Blackmore said he didn’t reject anything as far as lyrics.
  2. Lady of the Lake (Blackmore, Dio)
    • Blackmore on bass.
    • Carey on keys.
    • Pilkington describes it as a “Fantasy Femme Fatale” tale.
    • Blackmore slide solo.
    • Blackmore does slide during the second and third verses (before and after the solo) which actually sounds almost like backing vocals.
  3. L.A. Connection (Blackmore, Dio)
    • Blackmore on bass.
    • Stone on piano on the outro.
    • Thought to be written about Tony Carey leaving the band for a second time.
    • Was released as a single and made it to #40 in the UK charts with “Lady of the Lake” as the B-side.
    • It was the only other track from the album to make it to the live set.
    • Daisley said this song was Rainbow trying to be Bad Company.
    • Song was about Tony Carey leaving the band.  Dio said that he and Powell had to beg him to come back.  They resumed playing vicious pranks on him and he was stopped at the airport when he left by an anonymous tip someone called in that he had a kilo of cocaine on him so he was stopped for hours.
  4. Gates of Babylon (Blackmore, Dio)
    • Daisley on bass.
    • Stone on keys.
    • Song is about someone getting their soul taken away from them and being sent to hell.
    • Song was inspired after a seance.
    • David Stone says that he and Martin Birch wrote the mid-section one night.  He was told by Bruce Payne he’d get a publishing credit but they just gave him a check because they claimed it was too much paperwork.
    • Track was never played live. Blackmore claimed, much like with Stargazer, that it just didn’t sound right.
    • Dio would later perform this live as well as Stargazer.
    • Last track to be finished for the album.
    • Often described as “Zeppelin-eque”
    • Blackmore said in an interview with Guitar Player in 1978 that this was the best guitar solo he ever did.

Side two

  1. Kill the King (Blackmore, Dio, Powell)
    • Stone on keys.
    • This was already well known from the live release the previous year.
    • Carey said that they had this song by the end of the Rising sessions but it came in too late to be included on that album.  This is why they’d released it on their live album before recording it for Long Live Rock ‘n’ Roll.
  2. The Shed (Subtle) (Blackmore, Dio, Powell)
    • Blackmore on bass.
    • Stone on keys.
    • Originally titled “Streetwalking.”
    • Riff is comparable to “God of Thunder” by Kiss.
    • In Pilkington’s book he says the title is a reference to Chelsea FC’s football stadium Stamford Bridge.  The area behind the goal was known as “The Shed” where  the violent people tended to be.  Not sure if he’s referencing the fans or the players.  Blackmore was a Chelsea fan growing up.  Dio did the title as a sort of in joke.
    • The (Subtle) is supposed to reference the guitar intro.
  3. Sensitive to Light (Blackmore, Dio)
    • Song about a woman who is trouble when you’re with her.
  4. Rainbow Eyes (Blackmore, Dio)
    • Blackmore on bass.
    • Carey on keys.
    • Blackmore showing his love for medieval music.
    • Lyrics were written by Dio about his wife Wendy.  The song was about Wendy’s eyes which seemed to change color.
    • Allegedly Dio’s departure from Rainbow may have been party due to Wendy’s relationship with Blackmore.
    • Blackmore said he did not like Dio’s vocals on this song.
    • Ronnie apparently called Ronnie’s ballad voice “girly” which is maybe why he later resurrected this song for Blackmore’s Night.

Reception and Review

  • Ritchie said in an interview with Sounds that they were trying to make this a “Party LP.”
  • Stone only stayed throughout his one album.
  • Dio and Daisley talked about forming a band when they left.  Instead Dio went to Black Sabbath and Daisley formed a band with the recently departed Ozzy where he wrote a lot of the music and lyrics to the first two Ozzy albums.

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #58 – James Gang – Bang

Link to video on Cocoscope: https://www.cocoscope.com/watch?v=59081

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Lead up to the Album:

  • Previous to Tommy being in the band they’d been a power trio with Joe Walsh on guitar/vocals.
  • The band went through six other guitar players before Joe Walsh joined.  Phil Gialombardo was on keys and vocals with a slight overlap with Joe Walsh taking over vocals.
  • Their first album had Tom Kriss on bass before Dale Peters joined for the remainder of the band’s existence.
  • Jim Fox was the only original member that stayed throughout the band’s history.
  • When Joe Walsh left they hired Dominic Troiano and Roy Kenner to take over guitar and vocals respectively.  Both had been members of the Canadian band, Bush.
  • They did two albums with Troiano. 
  • Drummer Jim Fox said that they weren’t happy with the direction the band was going but Bolin joining gave them the energy they were looking for.
  • In interviews Jim Fox has noted that Troiano was a great guitarist but never really clicked with James Gang.
  • Walsh recommended Bolin.  The group was familiar with him from his work in Zephyr.  Later they would discover “Spectrum” and fall in love with that album as well.
  • Dominic Troiano was a great player but he had a strong R&B style that the others felt didn’t work well with the band.  He could play rock but his heart wasn’t in it.
  • When Joe Walsh recommended Tommy that was pretty much good enough for the band.
  • Their road manager, Roland Paquin, picked up Tommy from the airport.  As a joke he told Tommy that if he wanted the job he had to explain to the band how important R&B was to him and tell them that his favorite artist was Al Green.  Jim Fox said in an interview that their jaws hit the floor when they heard this but they all had a good laugh.
  • Jim Fox said that Joe Walsh and Dominic Troiano could play anything.  The difference was that Tommy could play it and mean it.  The others could play it if it was requested.

Personnel

Album Art & Booklet Review

  • Art Direction, Design and Photography
    • David Larkham
      • Elton John, numerous albums, Van Morrison, etc.
    • Ed Caraeff
      • https://en.wikipedia.org/wiki/Ed_Caraeff
      • Bread, Tim Buckley, The Mothers of Invention’s “Uncle Meat” album, Zappa’s “Hot Rats”
  • Design – David Larkham
  • Photography By – Ed Caraeff
  • The original picture was of Domenic Troiano on the right.  They couldn’t reshoot the album cover because all the props had been disposed of so they simply added Tommy Bolin’s face over Toiano’s.

Technical:

Credits:

Album Tracks:

Side one:

  1. Standing in the Rain
    • Written by Tommy Bolin
    • Tommy Bolin on backing vocals with Roy Kenner
  2. The Devil is Singing Our Song
    • Written by John Tesar, Tommy Bolin
  3. Must Be Love
    • Written by Jeff Cook, Tommy Bolin
  4. Alexis
    • Written by Jeff Cook, Tommy Bolin
    • Tommy Bolin on lead vocals
    • Coverdale said in an interview that he’d wanted to record “Alexis” for “Come Taste The Band”

Side two:

  1. Ride The Wind
    • Written by Roy Kenner, Tommy Bolin
  2. Got No Time For Trouble
    • Written by John Tesar, Tommy Bolin
  3. Rather Be Alone With You (A.K.A. Song For Dale)
    • Written by Roy Kenner
  4. From Another Time
    • Written by John Tesar, Tommy Bolin
  5. Mystery
    • Written by John Tesar, Tommy Bolin
    • Jim Fox on piano
    • Bolin said in an interview that the song was originally over 10 minutes long but they reduced it down to 6 for the LP.

Reception and Review


Review from the Ann Arbor Sun by Stanley T. Zillifro.

For Further Information:

Listener Mail/Comments
Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

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Episode #57 – David Coverdale – North Winds

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  • Joe Lynn Turner & Lonestar

Lead up to the Album:

  • David Coverdale’s first solo single ‘Whitesnake’ from 1977
    • David Coverdale’s first solo album following his departure from deep Purple was the aptly named ‘White Snake’. This is the first single “Whitesnake” and it is taken from the program “Juke Box, Un sur Cinq”, seen on the French TV channel A2, in 1977.
  • Released ten months after “White Snake.”
  • There was no tour to support “White Snake” as Coverdale was still under contract to Deep Purple.
  • Albums came out on Purple Records.
  • In Martin Popoff’s Book, Sail Away, Coverdale says, “Yes, another scam.  It’s funny, when I joined Purple, I was going, my God, telling my friends they’ve got their own record company!  But it was just a scam by the management.  They would go get the advance, they would take their hefty percentage . . . “
  • Coverdale goes on to say since the band had their own label it meant the management got more and the band got less than if they’d been on Warner Brothers or EMI.
  • Glover returns to produce.
  • Ronnie and Wendy Dio provide backing vocals. In “Sail Away” Popoff mentions the opening track “Keep on Giving Me Loving.”  On Wikipedia they mention “Give me Kindness.”  In Purple Records 1971-1978 Neil Priddey says they sing backup on “a song.”  In Simon Robinson’s liner notes he confirms “Give me Kindness” with the addition of Jon Lord’s wife Judy.

Personnel

Album Art & Booklet Review

  • Original cover which made its way to the printer was scrapped at the last minute.
  • Replaced with a cover picture of the moorland.
  • It was redone for a second print as the first print was deemed too dark.
  • Coverdale requested that the song “Northwinds” be swapped with “Keep on Giving Me Love” and this was done by the third printing.
  • Design [Cover] – Peter Shepherd (2)
    • Album covers for Isaac Hayes, Cliff Richard, Sheena Easton
  • Photography By [Front Cover Photo] – Peter Lavery
    • Album work for Pat Travers, Christopher Cross, and others
  • Photography By [Inner Sleeve] – Tom Schmid (2)
    • Only credit on Discogs

Album Tracks:

Side one:

  1. Northwinds
  2. Keep On Giving Me Love
  3. Give Me Kindness
  4. Time & Again

Side two:

  1. Queen Of Hearts
  2. Only My Soul
  3. Say You Love Me
  4. Breakdown

Reception and Review

  • “Shame on the Devil” and “Sweet Mistreater” were recorded between White Snake and “North Winds” and were included on the re-release of “North Winds” as bonus tracks.
  • A list had other songs that were not included on the album whose master tapes are likely lost including: Sunrise to Sunset, Til the Sun Don’t Shine, It Would be Nice, and Love’s a Crazy Game.
  • Purple Records was coming to a close by the release of this album and Coverdale’s contract moved to EMI.
  • Album did not chart in the UK.  Four tracks were used on the “Snakebite” double EP and billed as Whitesnake’s debut album.
  • Discogs Review:
    • abracadava
    • March 27, 2010
    • edited over 7 years ago
    • referencing Northwinds, LP, Album, 1C 064-60 414
    • i sold this release for £3 to my mate Martyn who added it to an enormous arsanel of seduction tools, which included a bookcase full of Jane Austin novels & a poster of a puppy.
  • Geoff “Three Stars” Barton review in Sounds in 1978.
  • Robbi Millar in Sounds in 1982: “. . . isn’t anything to get excited about.”

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Bonus Episode #6 – Interview with Ray Fenwick

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

In this bonus episode we interview Ray Fenwick. We talk about his beginnings as a session player, his time working with Joe Meek, The Spencer Davis Group, Fancy, his solo album “Keep America Beautiful, Get a Haircut,” Jon Lord’s “Windows” project, The Butterfly Ball, Wizard’s Convention, Eddie Hardin, Ian Gillan Band (“Clear Air Turbulence” in particular), his single “Queen of the Night,” what he’s working on now, and more!

Posted on

Episode #56 – Ian Gillan Band – Clear Air Turbulence

Video on Cocoscope this week:
https://www.cocoscope.com/watch?v=54270

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Lead up to the Album:

  • When we last left IGB Mike Moran was on keys.  He had since left and been replaced by Colin Towns on keys.
  • Ray Fenwick looks back on IGB in “Smoke on the Water: The Deep Purple Story” by Dave Thompson: “The first album was very, very good, I thought.  The thing with it was, Ian suddenly found himself in a band with a bunch of session guys and, of course, session guys like to play as much as they can when they get a chance.  In that situation, we were given a bit of room and rope, so we let the rope out a bit.”
  • Dave Thompson also says that the punk scene was huge in the UK at this point.  Rainbow took advantage by spending much of their time in the UK and Japan during this time.  IGB spent most of their time in the UK and didn’t get a lot of traction.
  • The band was under fire by the music press as well.
  • Even Deep Purple fans weren’t on board with Ian Gillan Band.
  • Fenwick stated that fans were getting a little unhappy about the funky elements in Ian Gillan Band.  “. . . by the time of the second album [Clear Air Turbulence], that terrible word ‘jazz’ was coming in.  But the worst thing we could have done was be another Deep Purple. We started to really experiment and, by the time we got to the third album [Scarabus], although we started doing shorter songs because we were thinking about radio play, we were also getting into some really strange stuff.”
  • The band settled down at Kingsway, owned by Gillan himself, where they would have as much time as they needed to record.
  • The album was recorded twice.  The first attempt was not satisfatory to Gillan so they cancelled their 1976 tour and re-recorded it.  Scarabus would be released just six months later.
  • They toured in 1977 and released “Live at the Budokan” which features mostly Clear Air Turbulence.
  • Gillan wanted Clear Air Turbulence to set them apart from Deep Purple and even the previous IGB album.
  • Gillan says in his book, “Child in Time,” that he got a new manager named Gerry Black.  He admits to signing a contract blindly.
  • Gillan says that at Island records they had signed people like Steve Winwood.  Gillan said at Island he’d spend many mornings playing pool with Bob Marley.
  • Gillan also said that bands like IGB were considered second division.
  • Gillan also tells a great story in his book about how he was tired of the band constantly taking taxis to go get cigarettes, strings, etc.  He told management to buy a car to save money. He came in and saw the car parked in his spot at the studio. He looked in and there was nothing in it: no seats, no steering wheel, no dashboard, nothing.  “. . . not a bloody thing. I was just a shell.”

Personnel

Credits

Album Art & Booklet Review

  • Painting [Sleeve] – Chris Foss (2)
    • Only 3 other entries on Discogs
    • https://www.chrisfossart.com/
    • Thousands of science fiction books, Asimov, Philip K. Dick, Frank Herbert (Dune), Arthur C. Clarke
    • Created the original line artwork for “The Joy of Sex”
  • Gillan, discusses working with Chris Foss in his book “Child in Time”: and calls it “the bumble-bee spaceship.”

Back of the Album:

Many thanks for the enthusiasm, support and professional services

Gerry Black

Gary Lee

Byron Orme

Ezee-Hire

Maurice Plaquet

Percussion Services

Album Tracks:

Side one:

  1. Clear Air Turbulence
  2. Five Moons
  3. Money Lender
    1. Per “The Complete Deep Purple” by Michael Heatley, Gillan is referencing his former manager, Bill Reid.
    2. Gillan claims to regret this, “In truth, I had not a single reason to think badly of the man.”  He had just gotten a tax bill for £385,000 and was looking for someone to blame.

Side two:

  1. Over the Hill
  2. Goodhand Liza
  3. Angel Manchenio

Reception and Review

  • From Pop: Zweitling vom ex-purple-sanger und seiner band, in der nach wie vor erstklassige typen mittun ( ). musikalisch ist die truppe. bei alter harte bleibt der sound uberall transparten und grazil. trotz-dem fehlt etwas: gute songs, melodien, knuller. das lobenswerte teamwork (all songs enstanden in gemeinsamer arbeit) erbringt nur heisse luft.
  • Second of the ex-purple-singer and his band, in which still first-class types now (Ray Fenwick, John Gustafson). the group is musical. with old hard the sound remains transparent and delicate everywhere. Nevertheless, something is missing: good songs, melodies, pacifiers. The commendable teamwork (all songs were created in collaboration) only provides hot air.
  • New Musical Express references the canceled tour and refers to the band as “Clean Air Turbulence.”

Re-mixes available:

  • The Rockfield Mixes
  • The Rockfield Mixes Plus

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Listener Mail/Comments

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Episode #55 – The Ronnie James Dio Tribute Special (with James Curl and Claude Schnell)

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Dio in Modern Culture 

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Episode #54 – Dance with the Devil: The Cozy Powell Story (with Laura Shenton)

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In this episode we interview Laura Shenton, author of Dance With The Devil: The Cozy Powell Story, and break down some of Laura’s favorite Cozy Powell moments!

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Interview with Laura Shenton, Author of “Dance with the Devil: The Cozy Powell Story”

Laura’s Top 5 Cozy Powell Songs

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