The Deep Purple Podcast

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• From The Peter Frampton Show (I’m In You!)
• Purple Chickie’s grievance letter

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Lead up to the Album:

• Roger: Was the songwriting process any different from ‘Bananas’ to ‘Rapture Of The Deep’?
• “Not really. We all put stuff together before we meet up but in a strange kind of way it writes itself really. The songs take on their own life when everyone starts chipping in. We really feed off each other. Sometimes that means they get taken off in a direction you might not of thought of, but that’s OK.
  Ian writes about 75% of the lyrics and his stuff is often very wild and wacky, whilst my lyrics are more wistful and poetic I suppose. Just those two different ways of looking at things makes for some interesting results. Sometimes you have to fight a bit if it’s one of yours, sometimes you just let it go because it becomes something rather special. If it’s a song that needs to be kept faithful then we all have the luxury of being able to do solo work too, so everybody’s happy.”
• ‘Rapture Of The Deep’ marks a significant career step for the band, breaking away from EMI. It’s hard to believe they got so complacent with a band like DEEP PURPLE.
• “We’ve always been in and out of love with EMI, so it was long overdue for a change. As it worked out, circumstances forced our hand but it really has turned out for the best for DEEP PURPLE. It was a total mystery to me why EMI decided not to continue the relationship.”
• IG: Well, in a couple of respects. It´s obviously the same producer, same city, same line up. But there was some differences, yes. We came off the back of an 18 month tour with “Bananas”. I mean literally! The band was HOT! I mean there was a tremendous amount of empathy between the musicians, so when we went into the studio there was a…I sat in amazement every day watching these guys work and music was created. And the ideas were flying back and forth and everyone picking up and understanding exactly what was being offered. Someone would start a twiddle a little riff or something like that and everyone would get it straight away. It was great fun! We had no plans and we just decided on a starting date and everyone turned up at the studio and we put the coffee on and told some jokes and talking about the glittering prospects Queens Park Rangers and Sunderland and Nottingham Forest the forthcoming season (laugh). And then we went in and started banging away. Nothing really happened for the first few days and everybody´s just sort of exploring ideas. The only other thing really, apart from that, from a lyrical point of view, was that the previous album was very…leaning very heavily on a political attitude and this one is very much more of a spiritual type of approach.
• IG on the writing process: It´s a matter of discipline. You go in the studio every day and start jamming. These guys are unbelievable musicians! So they start jamming without a rhythm or a riff or a lick or a chord. Somebody starts a chord sequence and everybody follows. Somebody starts a lick and everyone does a counter riff or whatever and then the dynamics slowly…I´ll give you an example! … They don´t get written as such. The big job of course is writing the words and I normally get up at five o´clock in the morning and prepare those when I´ve got the tunes sorted out in my head. I like to work in the quiet, before the sun comes up. But it´s very spontaneous. It seems to be a very nonchalant approach.
• Jeff Miers in the Rapture of the Deep Tour Book & Press Release:
  • “Rapture of the Deep” is the spot-on moniker for the disc you hold in your hands, and I’ll stand on any classic rock radio programmer’s desk in my cowboy boots and scream it loud, proud and Gillan-esque; “This is the best Deep Purple album there is, dammit! Forget ‘Machine Head’ – that was then; this is most decidedly now!”
  • This is the fourth record created by the revamped and rejuvenated Purple following the umpteenth departure of the mercurial Mr. Blackmore. The guitarist – one of the most significant in British rock history – had ceased to be a contributing force and was in fact draining Purple of its collective spirit when his ship finally set sail for good, a bit over a decade back.
  • Blackmore’s exit is, in a sense, where our story begins, for the surviving band members left to pick up the pieces in his violent wake – Gillan, Glover, Lord, Paice – agreed unanimously on only one six-stringer, the soon to be knighted Steve Morse. Hardly scraping the dregs from the bottom of the barrel with that choice, boys.
  • This is Deep Purple, 2005 version. Intense, fearless, full of fire, and wit, and passion. Marked by serious virtuosity, but never a slave to it. Still finding new meaning in a medium they all but single-handedly created. Grab ahold of this, and don’t let go.
• Press Release

Core Band:

• Bass – Roger Glover
• Drums – Ian Paice
• Guitar – Steve Morse
• Keyboards – Don Airey
• Vocals – Ian Gillan

Technical:

• Management [Business] – Barbara Fucigna
• Management [Personal] – Bruce Payne
• Mastered By – Andy Van Dette*
• Producer, Engineer – Michael Bradford
  • Roger: “”Michael Bradford is an engineer, a songwriter, a bass player, he´s a guitarist, he´s good at a lot of things – he´s a good talker, too and he´s a pretty good chef!” Ian and Roger talk about the recording studio “The album was recorded at Michael Bradford´s studio in Los Angeles: He´s moved into a new house with a very nice environment. It´s a small room with a kitchen where we used to stand and write the lyrics and a little yard outside where we could relax and sit in the sunshine, have a beer. We worked there from noon to 6 o´clock – 6 days a week, we didn´t work on sundays, Michael wants a day off, but it´s good to clear your head. And it took five weeks. Yes, it was very interesting, very spontaneous.- Sometimes you have a writing sessions, where you write the songs, then you have a recording session, when you record them. This album was done pretty much at the same time: we´d go in, write what was going to be the idea for the song and immediately go into record mode and captured it. Michael is very good at stopping us from overdoing it. Usually it´s two takes and that´s it! We all played together and the whole album has a spontaneous feel to it we would have lost if had gone over and over. That´s why it´s not perfect!”
• Technician [Studio and Tour] – Michael Berger (6)
• Tour Manager – Ian ‘Spider’ Digence*
• Tour Manager [Assistant] – Andrea Kramer (2)
• Recorded at Chunky Style Studios in Los Angeles, California.

Album Art & Booklet Review

• Artwork, Design – Ioannis (2), Roger Glover
  • https://www.thehighwaystar.com/specials/rotd/ioannis.html
  • I have worked with Deep Purple now close to 8 years. Abandon being my first cover with them and it’s been a very rewarding experience.
  • The cover drawing is by Tom Swick, it was a color cartoon that Roger Glover saw in a magazine (New Yorker I think) and thought it was an interesting idea to develop further.
  • Returning from the tour Roger headed down to my design firm, we worked 8 -9 hour days for about a week or so and designed together the packaging for the new album which includes a 2 disc LP, Two Digipaks (10 and 11 song versions) complete with 16 page booklets different from the CD version. 3 CD jewelcases with a 16 page booklet (10, 11 songs version and a Japanese version) and a promo poster.
  • We created 17 pieces of original art (with the origin being the cartoon) that I’m really proud of. The cover though is really all Roger’s design. He picked the color, font, title art, and had the cartoon version done as a simple B/W.
  • Roger and I worked together as art directors which was a blast.
  • We are talking about doing a book project together and will hopefully work on the 2006 tour merchandise late next month.
  • Ioannis
• Painting – Tom Swick
  • Only one other entry on discogs.
• Ian:”It´s a phrase coined by Jacques Cousteau to define the confused state you get into as a diver when you get down to three atmospheres, which is 30 metres or a hundred feet. And you go through a feeling of euphoria; it has a strange physiological effect on your mind and your machine function. It´s a bit like being drunk and stoned – not that I would know, of course (laughs).-
• A fan sent in a small picture: In a small village in England there was a pond and there was a sign in the water saying “Danger – deep water” and somebody had crossed out “water” and put in “purple” instead. And so it was in the back of our minds and “Rapture of the deep” described very well the way I was thinking at the time: If you are in a condition like that, you start thinking about things in a different way. And there is quite a lot of spiritual content in the underlying theme of the lyrics of four or five songs certainly. It´s not to be taken literally – it´s a word picture.”
• Ian and Roger: “”The man is standing with two trees on every side and he´s like a reflection, but if you look into the water, the trees are wobbling and he´s straight. It´s thought-provoking, that´s the idea of it.- Rapture is a happy state, it´s a state you´d like to be in, but the more happier you get, the more dangerous it is!”

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Album Tracks:

1. Money Talks
   • From Wikipedia: “The track “Money Talks” sees singer Ian Gillan perform the widest vocal range heard on any Deep Purple recording, with the bridge featuring a double-tracked deep bass vocal and the song’s coda featuring a high-pitched scream.” (uncited)
   • Ian Paice (from interview with Benny Holstrom): There is another one, “Money Talks”, that I think can be a really great live track. And one of the obscure ones, one of the strange ones could turn into something wonderful. 
   • Gillan: “This is based on the principle, I think, that money as a currency is an essential tool in civilization. However, when money becomes a commodity it takes on a very nasty complexion. If people are just interested in trading money to make money someone else has to pay for it! So it´s talking about that, it´s talking about the corruption. I mean, there is nothing wrong with earning money, there is nothing wrong with enjoying life but it´s against the greed and corruption that takes place just to accumulate wealth on other people´s expense and so there are references in that about having more food on your plate than you need and not to worry, cause there are guards at the gate. Money always comes back to money, money makes money and it whispers in my ear, it laughs at me – it´s corrupting!”
2. Girls Like That
   • Ian Paice, when asked if there was a song he would have left off: ““Girls Like That” was that song for me. I thought that’s ok, but I would have left “Girls Like That” off, but Don [Airey] thinks “Girls Like That” is great; so there we go, we just gave up in the end. One day all the music will come out, so it doesn’t matter.“
3. Wrong Man
   • Ian Paice: “Wrong Man” is just a great rock ‘n’ roll track. They’re the only two we have tried on stage so far (referring to “Rapture of the Deep”, but I get the feeling that three or four more will happen that way.
   • “Wrong Man” got lost. The idea for that came out of the “Bananas” sessions, right at the very, very end. We had finished recording, we were just jamming and I captured it on tape, brought it back to the studio and said, “This is too good for us to throw away”. And there are a couple of other things which we started jamming on earlier in the day before we got into the process of recording what we had done the day before. So some tunes got forgotten, but they are still there, so whenever we go back into the studio again, I’ll bring them back in.
   • We have one wonderful thing Steve [Morse] does, which is very fast, very rhythmic and has the same appeal to me as the riff from “Wrong Man”. I’ll bring that in next time and we’ll get a little bit of extra help from “Rapture” on whatever the next record is, we get something to start with anyway. There are so many ideas, we could have gone on for another three weeks and done a whole new album. We could have done two albums, but we made one album, that’s enough. But the ideas were flowing in, I must say… the ideas were just coming out, coming out and they were great ideas.
   • Roger: “Wrong Man” – it´s such a driving riff and it is great to play live.”
4. Rapture of the Deep
   • Ian Paice: “Well, I think “Rapture Of The Deep” will become a very similar track to “Perfect Strangers”. I think it has that sort of appeal. 
   • IG: “Rapture of the deep”, the title track, we came back in from a coffee break and Don was going (sings the melody). I was going “Ahh, that´s cool!”. He said “You know what? I hear that we´re going to Istanbul. I´ve never been to Turkey before, so I´m just playing…this is called `Turkish delight`!”. And he was just doodeling or whatever you call it, and just exploring a different scale, it´s an Eastern scale. So emediately Ian Paice started playing along with it and it changed the thing completely when you get two musicians. And then everyone else started playing and it became a joy. So all of those things, they evolve. 
   • Roger on Don: “A couple of years later after we’d toured Bananas he was much more confident and much more assertive in his ideas. He was the one who came up with the riff that became “Rapture of the Deep.”
5. Clearly Quite Absurd
   • IG: It was very difficult to write that one and also “Before time began”. They were really written as instrumentals. Steve Morse, his guitar playing is very lyrical so sometimes it´s difficult to find exactly where to fit in some vocals on the tracks. But you just have to keep working on it and I think these two songs particulary and “Kiss tomorrow goodbye” fit the spiritual…I have this theory that Deep Purple is still going to be going 2000 years from now, in a metaphysical form. So one of the things I´m talking about lyrically on this record is that in order to survive I believe that the human race needs to mutate in to something non physical, because the rate of expansion is clearly unsustainable at this rate. And if you look at the predictions of the population figures of the planet in 50 years from now, that´s all, it makes you tremble. It´s horrific! Anyway, I´m not Bono and I can´t misrepresent the rest of the guys with my views.
6. Don’t Let Go

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For Further Information:

• https://en.wikipedia.org/wiki/Rapture_of_the_Deep
• https://www.discogs.com/release/661597-Deep-Purple-Rapture-Of-The-Deep
• Rapture of the Deep is Deep Purple’s first release in Europe on the German label Edel Records, while in the US the record was released by Edel’s sub-label Eagle Records.
• https://www.45worlds.com/cdalbum/cd/0165762ere
• https://www.45worlds.com/cdalbum/cd/0165542ere
• https://www.45worlds.com/cdalbum/cd/0165542erede
• https://www.45worlds.com/cdalbum/cd/0169352ere
• Darker Than Blue Issue 58   July 2007
• Infinite and Beyond: Deep Purple 1993-2022 by Adrian Jarvis
• Smoke This!: The Warblings, Rants, Philosophies, and Musings from the Singer of Deep Purple by Ian Gillan
• http://www.deep-purple.net/review-files/rapture/rapture.htm
• https://www.the-aviator.de/ton/dp84/OffizielleStudioAlben/p_rapture_of_the_deep.htm – German Language Review
• https://www.allmusic.com/album/rapture-of-the-deep-mw0000703026
• https://www.thehighwaystar.com/specials/rotd/ioannis.html
• https://www.thehighwaystar.com/specials/rotd/
  • https://www.thehighwaystar.com/specials/rotd/daniel.html
  • https://www.thehighwaystar.com/specials/rotd/tracyheyder.html
  • https://www.thehighwaystar.com/specials/rotd/benny.html
  • https://www.thehighwaystar.com/specials/rotd/andrzejjaniak.html
  • https://www.thehighwaystar.com/specials/rotd/svante.html
  • https://www.thehighwaystar.com/specials/rotd/reichberg.html
• https://www.thehighwaystar.com/specials/rotd/lyrics.html
• https://web.archive.org/web/20060116043819/http://classicrock.about.com/od/artistsaf/fr/deep_rapture.htm
• https://www.bbc.co.uk/music/reviews/wnjw/
• https://bravewords.com/reviews/deep-purple-rapture-of-the-deep
• https://drownedinsound.com/releases/6757/reviews/477537-deep-purple-rapture-of-the-deep
• https://deeppurple.com/blogs/news/ian-gillan-interview-2007
• Deep Purple interview – Ian Gillan 2005 (part 2)
• Deep Purple interview – Ian Gillan 2005 (part 3)
• DEEP PURPLE – RAPTURE OF THE DEEP – OFFICIAL EPK PART 1/5
• DEEP PURPLE – RAPTURE OF THE DEEP – OFFICIAL EPK PART 2/5
• DEEP PURPLE – RAPTURE OF THE DEEP – OFFICIAL EPK – PART 3/5
• DEEP RAPTURE – RAPTURE OF THE DEEP – OFFICIAL EPK – PART 4/5
• DEEP PURPLE – RAPTURE OF THE DEEP – OFFICIAL EPK PART 5/5 BEHIND THE SCENES
• https://deeppurple.com/blogs/news/new-interview-with-ian-gillan
• https://www.thehighwaystar.com/news/news07-082005.html (info on cover releases and promo covers)
• https://web.archive.org/web/20160324195908/http://www.bankrate.com/brm/news/investing/20051227b1.asp
• https://www.thehighwaystar.com/interviews/paice/ip20050930.html
• https://deeppurple.com/blogs/news/the-rapture-of-deep-purple
• https://www.metalexpressradio.com/2006/03/31/interview-with-roger-glover-deep-purple/
• https://web.archive.org/web/20090427152050/http://www.classicrockrevisited.com/interviewIANGILLAN09.htm
• https://www.gillan.com/wordography-65.html
• https://web.archive.org/web/20060515163446/http://www.rockdetector.com/interviews/artist,2377.sm?id=70
• http://www.deep-purple.net/review-files/rapture/rapture-epk.htm
• https://web.archive.org/web/20051231053747/http://web.telia.com/~u43123410/mfintervju180.html
• https://www.babelmatrix.org/works/en/Deep_Purple-1968/Back_To_Back
• https://www.sputnikmusic.com/review/5234/Deep-Purple-Rapture-of-the-Deep/
• https://web.archive.org/web/20051210070806/http://www.deep-purple.com/news/?f=55
• Help from the archives of Jeff Breis
• The Rapture of the Deep Tour Book by Jeff Miers

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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Postcards From The Edge . . . OF CONNECTICUT!

• More mail from CT!

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Lead up to the Album:

• DC put band on hold after 1990 tour.
• Working with Jimmy Page revitalized him.
• Whitesnake reformed in 1994 for a brief tour to support the Greatest Hits record but it didn’t last very Long
• Coverdale Dog’s Bollocks Quote
• Rudy Sarzo, Warren DeMartini, Denny Carmassi, Paul Mirkovic and, of course, The Flying Dutchman

Core Band:

• Backing Vocals – Beth Anderson*
  • http://bethandersen.com/
  • https://en.wikipedia.org/wiki/Beth_Andersen
  • The Brave Little Toaster – magneto phone open-reel tape recorder in “It’s a B-Movie” and the wooded wagon in “Worthless”
    • https://en.wikipedia.org/wiki/The_Brave_Little_Toaster
  • Also did background vocals for the theme song from “The Neverending Story.”
  • Worked with Joe Cocker, Janet Jackson, Pia Zadora, Belinda Carlisle, Alyssa Milano, Christopher Cross, 
• Backing Vocals – Maxine Waters
  • https://en.wikipedia.org/wiki/Maxine_Waters_Willard
  • Over 600 credits on Discogs. Worked with Lamont Dozier, Neil Diamond, Adele, Barbara Streitsand, Paul McCartney, George Harrison, Ringo Star, Michael Jackson, Janet Jackson, 
• Backing Vocals – Tommy Funderburk
  • https://tommyfunderburk.com/
  • Worked with Barry MAnilow, REO Speedwagon, Frankie Valli, El DeBarge
  • Previously worked on Whitesnake’s Slip of the Tongue.
• Bass – Guy “Starka” Pratt*
  • http://www.guypratt.com/
  • https://en.wikipedia.org/wiki/Guy_Pratt
• Drums, Percussion – Denny Carmassi
  • https://en.wikipedia.org/wiki/Denny_Carmassi
  • Founding member of Montrose
• Guitar – Adrian Vandenberg
• Harmonica – Elk Thunder
  • Credited on several Joe Satriani Albums.
  • David Coverdale: “Elk Thunder was at that time the medicine man for many Native American tribes. He came to the studio to help us shift some uncomfortable energy.”
  • “We had so many tech issues we couldn’t believe it. So, I thought, bugger it … it must be something we can’t fix. We held a Spirit Feast, and lo and behold, everything started working well again. We were very, very grateful to him.”
  • Adrian Vandenberg: “The recording of Restless Heart was rather different from any other recording experiences before or since for me. We started off rehearsing and recording in a cozy studio located in a charming Victorian style mansion in Reno, and later on moved to a mansion close to Lake Tahoe that used to belong to disco singer Donna Summer. A complete mobile studio was set up there to the specs of brilliant engineer and producer Mike Fraser. The place had a bit of a weird vibe about it. It could easily have made a fitting haunted house in a thriller movie. From day one we had some very unusual and weird experiences. Mike Fraser attributed a bunch of technical problems to the fact that the house might have been built on an. ancient Indian burial ground, and he wanted to bring in an Indian medicine man.”
  • “He told us that he has native Indian roots in his family. A string of pretty weird, unexplainable things happened. A medicine man by the name of Elk was flown. in and performed ritual dances around the estate. The band chewed on grilled buffalo testicles by a campfire while he barked ritual Indian songs and shook Toys R Us-like Indian percussion…”
  • “After the spirits left the building the recording went smoothly, and we laid down the tracks with a smile on our faces. Stories to tell! He convinced us that he was a great mouth harp player, and pretty much insisted on contributing his stellar playing to our album …”
  • “So we decided that Elk could double a slide guitar lick in Woman Trouble Blues’ with his mouth harp. This is an extremely simple lick, but apparently it still appeared to be pretty impossible for Elk to play it properly, and it ended up taking a whole afternoon. And after that breathtaking performance, it took another few hours for our experienced engineer Bjorn to edit it to a point that it’d be bearable. At least we escaped an ancient Indian curse.”
• Keyboards, Backing Vocals – Brett Tuggle
  • https://en.wikipedia.org/wiki/Brett_Tuggle
  • Worked with Rick Springfield, Belinda Carlisle

Technical:

• Coordinator [Album Production Coordination] – Michael Mcintyre, Nina Avramides
• Engineer – Bjorn Thorsrud
  • https://en.wikipedia.org/wiki/Bjorn_Thorsrud
  • Worked with Bruce Dickinson, Smashing Pumpkins. Passed away in 2021.
• Percussion, Technician [Guitar Tech.] – Chris Whitemyer
  • Worked with Warren De Martini, Guns N’ Roses, Sammy Hagar.
• Technician [Drum Tech.] – Gary Clark (2)
  • Drum tech for Denny Caramassi with Heart and Coverdale Page
• Technician [Keyboard Tech.] – Michael Bernard
  • Worked with The Beach Boys and Lindsay Buckinham
• Management [Hk Management, Los Angeles] – Howard Kaufman
• Mastered By – Eddie Schreyer*
• Mixed By – Mike Shipley
  • https://en.wikipedia.org/wiki/Mike_Shipley
  • Garmmy Award winning engineer who worked with Def Leppard on High N Dryt, Pyromania, Hysteria, Adrenalize.

Album Art & Booklet Review

• A&R [A&R Coordination] – Clive Black
• Art Direction, Design [Enblem Design] – Hugh Syme
  • Artwork for previous Whitesnake albums.
• Artwork – @Peacock*
  • https://www.peacockdesign.com/
  • Worked with Kate Bush, Lots of re-releases in the 90s (tons of Elvis)
• Photography By [Front Cover] – Russel Young*
  • https://russellyoung.com/
  • https://en.wikipedia.org/wiki/Russell_Young_(artist)
  • Did photos for Bob Dylan, George Michael, and many more.
• Illustration – Mick McGinty
  • Did cover for Megadeth’s Youthanasia.
• Cover [Cover Concept Developement] – David Coverdale, Dimo Safari, Hugh Syme
  • Dimon Safari – Canadian photographer who won a Juno award for best album graphics for Rush – Power Windows.

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Album Tracks:

All tracks written by Adrian Vandenberg and David Coverdale except where noted.

1. You’re So Fine
2. Your Precious Love
3. Take Me Back AGain
4. Woman Trouble Blues
5. Anything You Want
6. Can’t Stop Now
7. Oi (instrumental) (Caramassi, Coverdale, Vandenberg)

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Bustin’ Out The Spreadsheet

Reception and Charts:

• hh

Reviews

• Darker Than Blue Issue 50  February 1998
• RESTLESS HEART
• EMI TOCP 50090: UK/Europe : June 2nd 1997 CD It’s getting a hit like the old times again – what with a Gillan (the man – not the band) album out, Lordy’s effort due any day, and offerings from the man in black. If it all seems increasingly less vital than it did fifteen years ago, that’s probably just me feeling my age, but sadly there’s not a vast amount on David’s new offering to stop me getting all nostalgic about Whitesnake classics of yore. Things became a little overblown on the last two Whitesnake albums (to say the least) so it’s good to find David toning things down in favour of a more basic approach. Out too has gone the sponsorship by L’Oreal, and a more craggy wet look David Coverdale adorns the front of what is billed as the final Whitesnake album. And Ritchie could well take a leaf out of David’s book, or at least call him for the name of the photographer. as it’s a great moody image. Some things never change though, and the old poorly executed paintings of concrete heraldry still adorn the rest of the package. Still, let’s persevere. People had, after all, being calling me up claiming this to be his best vocal performance in years.It has to be said that by and large they were right. Perhaps the time off has done him good. It’s still uniquely Coverdale, but somehow a little richer in tone, a little smoother in delivery – and it suits him very well. That then is the good part. The downside of it is that sadly very little else on display here is up to this vocal return to form. Musically it lacks memorable tunes, melodies, riffs – anything really. It just kind of washes over one in a stream of fairly bland metal. The opener, Don’t Fade Away. is very typical -plenty of recognisable AOR Rock signatures but nothing too deep or original. All In The Name Of Love sparkles at the start with a few bars of grungy Hammond, but ditches this in favour of a plodding, pedestrian beat. A good production to be sure, but largely lifeless. Title track time, and some good deep vocal lines growl promisingly, but are dissipated via a really inept band performance. Try the last minute or so though, and see how it might have sounded. Strings sneak in, must be time for a tearjerker. Too Many Tears – more excellent vocals, but a very obvious guitar solo, wet drums and a conservative feel to it all. The best you can say is that the tracks could sound stronger in a live situation. There is no doubt that this is an important album in that while it may not be the strongest he has ever recorded, it does mark a return to the Coverdale most of us like to hear best, and so holds some promise for the future. The fact that David has discovered his voice again also prompted more reviews of the album from readers than we would normally expect.”Mercilessly slagged off in the music press (well in ‘Kerrap’ magazine at least) and old D.C. stating in publicity interviews that this ‘final”Snake album summarising 20 years of the band, I feared a ‘Stranger in Us All’ type hotch-potch / self-rip-off. However, whilst there are certainly plenty of reminders of David’s post-Purple works (ranging right from Northwinds era to Coverdale/Page) they fall far short of self-parody. Indeed Coverdale goes less for the ‘Slip of the Tongue’-screaming and more for a back to his blues / Paul Rodgers-type phrasing and style, to great effect. Backing is courtesy of the Coverdale/Page touring band with Vandenberg ‘replacing’ Page, but the material is generally quite laid-back as compared to the C/ P album, and all in all quite in keeping with ‘Whitesnake’. I should say that fans of early to late-middle period ‘Snake (“true Whitesnake”?!) should not be disappointed by this album. Indeed, had this followed ‘Slide It In’, Coverdale’s credibility-rating might not have taken the nose-dive which it did with many ‘older’ ‘Snake fans. Lyric-wise David manages to rise above the groin for the most part, and the production (credited to D.C.) is somewhat brighter than the old Martin ‘Boring’ Birch produced efforts.” Tim Summers.I think it fair to say Tim’s views are common to just about everyone who ventured their opinion.

NEXT EPISODE SLIGHT DELAY! MACHINE HEAD SUPER DELUXE! – will be out on Monday approximately 12 hours later than normal!

For Further Information:

• https://en.wikipedia.org/wiki/Restless_Heart_(Whitesnake_album)
• https://www.discogs.com/release/2288284-David-Coverdale-Whitesnake-Restless-Heart
• https://www.45worlds.com/cdalbum/cd/724385680625
• https://www.discogs.com/release/20827597-Whitesnake-Restless-Heart-25th-Anniversary-Edition
• Sail Away: Whitesnake’s Fantastic Voyage by Martin Popoff
• David Coverdale: A Life In Vision by Andy Francis
• RESTLESS HEART (25TH ANNIVERSARY EDITION) liner notes by Hugh Gilmour and Steve “Krusher” Joule.
• Darker Than Blue Issue 50  February 1998

Listener Mail/Comments

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Craig Smith – Stargazer

Postcards From The Edge . . . OF CONNECTICUT!

• Updates!

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Lead up to the Album:

Core Band:

• Backing Vocals – Beth Anderson*
  • http://bethandersen.com/
  • https://en.wikipedia.org/wiki/Beth_Andersen
  • The Brave Little Toaster – magneto phone open-reel tape recorder in “It’s a B-Movie” and the wooded wagon in “Worthless”
    • https://en.wikipedia.org/wiki/The_Brave_Little_Toaster
  • Also did background vocals for the theme song from “The Neverending Story.”
  • Worked with Joe Cocker, Janet Jackson, Pia Zadora, Belinda Carlisle, Alyssa Milano, Christopher Cross, 
• Backing Vocals – Maxine Waters
  • https://en.wikipedia.org/wiki/Maxine_Waters_Willard
  • Over 600 credits on Discogs. Worked with Lamont Dozier, Neil Diamond, Adele, Barbara Streitsand, Paul McCartney, George Harrison, Ringo Star, Michael Jackson, Janet Jackson, 
• Backing Vocals – Tommy Funderburk
  • https://tommyfunderburk.com/
  • Worked with Barry MAnilow, REO Speedwagon, Frankie Valli, El DeBarge
  • Previously worked on Whitesnake’s Slip of the Tongue.
• Bass – Guy “Starka” Pratt*
  • http://www.guypratt.com/
  • https://en.wikipedia.org/wiki/Guy_Pratt
• Drums, Percussion – Denny Carmassi
  • https://en.wikipedia.org/wiki/Denny_Carmassi
  • Foudning member of Montrose
• Guitar – Adrian Vandenberg
• Harmonica – Elk Thunder
• Keyboards, Backing Vocals – Brett Tuggle
• Producer, Vocals – David Coverdale

Technical:

• Coordinator [Album Production Coordination] – Michael Mcintyre, Nina Avramides
• Engineer – Bjorn Thorsrud
• Percussion, Technician [Guitar Tech.] – Chris Whitemyer
• Technician [Drum Tech.] – Gary Clark (2)
• Technician [Keyboard Tech.] – Michael Bernard
• Management [Hk Management, Los Angeles] – Howard Kaufman
• Mastered By – Eddie Schreyer*
• Mixed By – Mike Shipley

Album Art & Booklet Review

• A&R [A&R Coordination] – Clive Black
• Art Direction, Design [Enblem Design] – Hugh Syme
• Artwork – @Peacock*
• Photography By [Front Cover] – Russel Young*
• Illustration – Mick McGinty
• Cover [Cover Concept Developement] – David Coverdale, Dimo Safari, Hugh Syme
• 
  

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Album Tracks:

All tracks written by Adrian Vandenberg and David Coverdale except where noted.

1. Don’t Fade Away
2. All in the Name of Love
3. Restless Heart
4. Too Many Tears
5. Crying
6. Stay With Me (Jerry Ragovoy, George David Weiss
   1. Cover of song by Lorraine Ellison
   2. Jerry Ragovoy
   3. https://en.wikipedia.org/wiki/Jerry_Ragovoy

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For Further Information:

• https://en.wikipedia.org/wiki/Restless_Heart_(Whitesnake_album)
• https://www.discogs.com/release/2288284-David-Coverdale-Whitesnake-Restless-Heart
• https://www.45worlds.com/cdalbum/cd/724385680625
• https://www.discogs.com/release/20827597-Whitesnake-Restless-Heart-25th-Anniversary-Edition
• Sail Away: Whitesnake’s Fantastic Voyage by Martin Popoff
• David Coverdale: A Life In Vision by Andy Francis
• RESTLESS HEART (25TH ANNIVERSARY EDITION) liner notes by Hugh Gilmour and Steve “Krusher” Joule.

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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• April 18, 2024

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• Deep Dive Podcast Network

Isolated Tracks:

Drums

Bass

Guitar

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Hammond

Vocals

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  • Purple Swede

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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Show Review:

• John and the New England Crew see Glenn Hughes!

Upcoming Shows:

• Vai Satriani Tour!
  • http://www.satriani.com/road/
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• Tickets for Chicago Show here: https://www.ticketmaster.com/event/07005F6785B91507
• April 18, 2024

Postcards From The Edge . . . OF CONNECTICUT!

• Catch up from January (and a lost Christmas card!)

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Thanks to Our Core Level Patrons:

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Album Tracks:

1. You Were Always There
   • Written-By – Glenn Hughes, Pat Thrall
   • Did a demo with Thrall but it didn’t make it on their album.
2. If You Don’t Want Me To (Allyson’s Song)
   • Written-By – Glenn Hughes, Jens Johansson, Per Stadin
   • Vocals – Meja
     • https://en.wikipedia.org/wiki/Meja
3. Devil in You
   • Written-By – Glenn Hughes, Pat Thrall
     • Also demoed by Hughes Thrall and not released.
4. Homeland
   • Written-By – Glenn Hughes, Mel Galley
   • https://ramzine.co.uk/news/trapeze-the-story-so-far/
   • When this version of the band underwent one of their intermittent reformations in the 90s, they also began to lay down tracks. Strident hard rocker ‘Breakdown‘ on Lost Tapes Vol 1 comes from that latter period, the song sounding immensely fresh and contemporary even today. “This is from what we might call the second coming period, around ’93. The three-piece recorded it at Garage Studios, with Glenn singing, where they also recorded the original version of Homeland.” The latter a rare Hughes-Galley co-write surfacing on Welcome To The Real World: Live At The Borderline a live album released in ’93 documenting the previous year’s tour, then Hughes’ own solo album  From Now On… the following year.
5. From Now On…
   • Written-By – Glenn Hughes
6. Burn
   • Drums – Ian Haugland
     • https://en.wikipedia.org/wiki/Ian_Haugland
     • Drummer in Europe and Baltimoore.
   • Written-By – Coverdale*, Paice*, Lord*, Blackmore*
7. You Keep On Moving

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Originally released in Sweden on January 29th, 1994 by Empire Records (ERCD-1001).
• Later the same year Zero Corporation released it in Japan (XRCN-1080) on April 23, 1994.
• In 1996 there was also a USA release on Explorer Records (EXC2 44810).
• Wikipedia lists 29 January 1994 (Sweden)^[1] March 1994 (International)^[2]
• Recorded: July-September 1993^[3] November 1993 (bonus tracks)^[4]

Reviews

• http://www.deep-purple.net/DPASmags/dtb46.htm#5
• Glenn and his band have been gigging throughout 1993 in Scandinavia, having decided to set up base there to record his new album. He went into the studios on August 16th with The King Siguurd Band – the guys he’s been working with since January – and 12 songs were already written. They had three weeks of rehearsing before the session, which lasted a month. Vocals were done separately, and they booked a show in Skara (about 80 miles from Gothenburg), where the studio is, for Sept.11th. This was to be taped, with the idea of adding some bonus tracks to the Japanese version of the CD when it comes out. In the end the live recordings didn’t turn out too well, so they went back to the idea of taping new studio versions, and this they did in Stockholm on November 17th. “Burn” and “You Keep On Moving” were the chosen songs. Blackmore declined to appear – he’d expressed some interest in doing the solos when asked about it earlier in the year. Glenn had hoped to get Ian Gillan in to guest on a couple of tracks, but the timing was out. Glenn’s band has a new drummer, Ian HaugIand,another Europe member, making three in all. Ian joined in time to play on the Stockholm session.
• http://www.deep-purple.net/DPASmags/dtb47.htm#6

From Now On – Album Review

GLENN HUGHES : FROM NOW ON : UK : Roadrunner RR 09007: 1994 CD The Japanese version (Xero XRCN 1080) includes “Burn” and “You Keep On Moving”; the UK version just has “Burn”, while the original Swedish issue has neither!”I’m a little perplexed and slightly confused as to the mish-mash of styles, suggesting that the tracks were written over a long period of time. I expected more of a strident hard-hitting funk-metal album, something like Living Colour or Chilli Peppers, and I’m surprised he played no bass on the album. As with “Blues” last year, the vocals stand out as the highlight of the album. The really important thing is that Glenn is back and singing well. ‘ Walkin’ On Water” is my favourite. Funk-metal as only GH can do it. A basic groove, with deft touches of rock guitar and great bass variations.” Roy DaviesThe album does cover a wide range of styles, and is much better than the LA Blues set. Here we go from Purple stompers like “Pickin’ Up The Pieces” (the keyboards especially), to the bluesier based Brit-rock as on “Lay My Body Down”. That said, little here really begins to break new ground, but perhaps that wasn’t the intention – it’s more of a reaffirmation of Glenn’s return to the fray. “Walkin’ On The Water” and “The Liar” both hold out some promise. The former is interesting both lyrically and in its musical structure, lots of varying time changes (though these perhaps show up certain weaknesses in the drum dept), while the sampled keyboards on the latter are a bit out of the ordinary, and the ending where Glenn is working with the guitarist might have been worth making rather more of. As someone else said of the new take of “Burn” – “Why fix something that ain’t broken”!

• https://www.glennhughes.com/ctc/issues/ctc_002.pdf
• Glenn Hughes has added to his already prodigious output of the last several years with another new disc, “Burning Japan Live.” Proclaiming himself substance and alcohol free since 1991, Glenn has never looked, or more importantly, sounded better. Although he has said in numerous recent interviews that his Deep Purple days were not necessarily the best days of his life, seven of the fifteen tracks here are indeed Deep Purple songs from the MK III and IV era. There are also four tracks from his studio release of earlier this year, “From Now On…,” two from the 1982 Hughes/Thrall album, “Coast To Coast” from his Trapeze period, and the newly written “Still In Love With You.” And despite quotes from Glenn for years that he wants to break away from the hard rock that he’s done for most of his career and move toward a funk and soul direction, this disc rocks as hard as any he has ever done. In true Deep Purple MK III and IV tradition, the opening number of the show is the classic “Burn.” With an appropriate introduction as “The Voice of Rock,” Glenn and band launch into a very spirited and uptempo version of this 20 year-old tune. Because Glenn does all the lead vocals during the show, I feared that the impact of his original entrance into the song would be lost. This was not the case though, as he let the loud enthusiastic crowd sing the chorus intro, “All I heeeeeeeeear!” Fist-pumping stuff! Guitarists Thomas Larsson and Eric Bojfeldt don’t alter the song’s basic riff, but do interpret Blackmore’s solo their own way, resulting in a sound somewhere between Ritchie himself and Yngwie Malmsteen, although it would be unfair and futile to compare these guys to either of those legends. Drummer Ian Haugland, with a driving open hi-hat beat, and keyboard man Mic Michaeli, with his Hammond B-3, both sound close enough to the original to be passable. Hearing Glenn performing all the vocals in this song, his fans no longer have to dream about what Deep Purple would have sounded like had Ian Paice and Jon Lord got their wish of having Hughes as the lead vocalist of Deep Purple [note: Ian and Jon were outvoted by Ritchie, who wanted two vocalists]. Like all his previous live work, and even more so now without the encumbrance of a bass guitar hanging from his neck, Hughes displays his immense vocal talents at every opportunity. In this song alone, I stopped counting at ten upper-register full-throated screams, and this count seemingly increased as the show went on. Hughes fans who live for the screaming-at-the-top-of-his-lungs-at-the-upper-end-of-his-formidable-range will think that this is the finest effort of his storied career. Conversely, those who think a subtler singing style is a preferable philosophy should steer clear of this disc and head straight for the Michael Bolton/Barry Manilow section of the record store. Next up is “The Liar,” a song from his latest album that sounds somewhat like Led Zep’s “Immigrant Song” with its frenetic throbbing riff and the banshee wail background vocals. This version is pretty faithful to the studio recording, although anyone familiar with Glenn’s performances knows that his live versions always include added vocal pyrotechnics. Glenn primes the audience for the next tune by saying, “We’re gonna get funky now,” and the band rips into the muscular riff of “Muscle And Blood” from the Hughes/Thrall album. This song is probably the heaviest track from that album, and the dual guitars here keep it that way with a chunky sound much like that of Gary Moore back in his metal period. Hughes ends the tune with a short a capella break, “I’m a man, I’m a man, I’m a man made of muscle and bloooood!” The next three tracks, “Lay My Body Down,” “From Now On…,” and “Into The Void,” are all from the “From Now On…” album, and the band plays them all very close to the originals. Again, the difference between the live and studio interpretations of these songs is mainly the variety of vocal stylings added by Glenn in the concert setting. It’s really a pleasure to hear Glenn reinterpret these songs live if you are familiar with the studio recordings, because of all the subtle variations he is able to do on the original. He seemingly has an infinite assortment of vocal shades, and often changes the texture of the original. The one new song during the set, “Still In Love With You,” is introduced by Glenn as, “I was fooling around with something today at soundcheck – figured you might want to hear it.” It is also the only song where he plays an instrument – surprisingly keyboards! The tune is performed by Glenn alone, and is a nice ballad-type thing, although it’s not really a song on its own yet, but more of an intro to the next tune, “Coast To Coast.” For those who get into such things, Glenn really loosens up the vocal chords in this intro, and hits his highest notes of the show – I could imagine all the dogs in my neighborhood perking up their ears while I was playing it. 🙂 “Coast To Coast” is perhaps Glenn’s best-ever writing achievement – a truly beautiful song. No one can touch him when he’s singing this one, and he doesn’t disappoint in this show. Nothing short of an Yngwie guitar solo could ruin this song, yet that’s exactly what the guitarist tried to do! The original solo laid down by Trapeze guitarist Mel Galley was a simple, yet elegant solo that actually enhanced the song with its melody. The live solo here is an unnecessary speed display that doesn’t even follow the melody of the song. Fortunately, the solo is short. Following “Coast To Coast” is a block of four Deep Purple MK IV tunes. After a dedication to Tommy Bolin, Glenn delivers a soaring “This Time Around” to an appreciative crowd. Michaeli has Lord’s keyboard work down on this song. Like on the “Come Taste The Band” album, the song segues into the instrumental “Owed To ‘G’.” Again, like in “Coast To Coast,” a hyper-kinetic guitar solo almost ruins things. Some things are meant to be left as is. Aside from the solo, the song is performed crisply, and the band acquits themselves well. “Gettin’ Tighter” is next, and I’m not sure what to make of this version. The rhythm guitar has been funkified to the point that it would work on an Isley Brothers record, yet the opening guitar solo is in the neoclassical vein. Hmmm? The song does settle into a cool wah-wah guitar funk piece the rest of the way. Can’t blame them for trying a new approach, but gun to my head, I’d have to say that I prefer the original Tommy Bolin version. “You Keep On Moving” is a masterpiece however. I thought I would miss the Coverdale/Hughes harmonies here, but Glenn survives on his own just fine. The crowd gets in the act during the reprise of the verse after a “Sing it with me” urging from Glenn, and responds impressively with a loud “You Keep On Moving, Far Away, Far Away.” The last three tracks are two MK III tunes sandwiched around another Hughes/Thrall number. “Lady Double Dealer” – nice job. The Hughes/Thrall tune, “I Got Your Number” really showed how enthusiastic and knowledgeable about Glenn’s music the audience was. A loud cheer greeted the opening notes, and this time they didn’t need any urging to complete the opening line – [Glenn] “How ya been?” [crowd] “Alright!” This crowd knew and loved the song! “Stormbringer” closes out the show – pretty much the same as the original, and the guitar solo captures the mood of Ritchie’s excellent solo quite nicely. So what’s left to say? Well, before the obvious comparisons to Deep Purple, it should be made clear that this is not a permanent band as Deep Purple was. The concerts, as well as the albums, are promoted and marketed as “Glenn Hughes” – not “The Glenn Hughes Band,” or even “Glenn Hughes and band.” It’s just Glenn Hughes. The main job of the band here is to not get in Glenn’s way. I don’t mean to disparage the band in any way, as they are very competent and talented professionals who do a fine job supporting Glenn. It’s just that this music will not go down in history as one of the all-time performances. That’s the way it is. As far as showcased hard rock singers go, the list of singers with with Glenn’s versatility is very small or non-existent. His voice has an appealing pure quality to it, his range is legendary, and his sense of pitch is right on. The endless arsenal of tonal variations is what keeps his work interesting – he is able to improvise at will, and perhaps never will perform a piece the same way twice. This unpredictability is what keeps the man intriguing. The bottom line is that this album is a definite must-have for Glenn’s fans, hard rock vocal fans, and even Deep Purple fans, even if the music isn’t quite up to their lofty standards. Glenn has given a monstrous performance here, with the vocals of every song exceeding those of the original renderings. Maybe in the future he will join another supergroup like he had in Deep Purple, but for now, this is his best vocal effort to date. I had a lot of fun reviewing it, and will be grooving to it for a long time to come. reviewed by Bill Jones for the newsgroup alt.music.deep-purple Sept 24, 1994

For Further Information:

• https://en.wikipedia.org/wiki/From_Now_On…
• https://www.glennhughes.com/fno.html
• https://www.discogs.com/release/514152-Glenn-Hughes-From-Now-On
• https://www.discogs.com/release/5151668-Glenn-Hughes-From-Now-On
• https://ramzine.co.uk/news/trapeze-the-story-so-far/
• Darker Than Blue Issue 46  February / March 1994
  • http://www.deep-purple.net/DPASmags/dtb46.htm#5
• Darker Than Blue Issue 47  December 1994
  • http://www.deep-purple.net/DPASmags/dtb47.htm#6
• Bill Jones Review
  • https://www.glennhughes.com/ctc/issues/ctc_002.pdf

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Show Review:

• Glenn Hughes at The Arcada Theatre in St. Charles, IL on February 10, 2024.
• Joined by patrons Mike Kattan, Peter from Illinois, and Ryan M.
• Played with Bad Marriage, Enuff Z’nuff.
• Backstage meetup with Glenn.
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Upcoming Shows:

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• April 18, 2024

Postcards From The Edge . . . OF CONNECTICUT!

• Catch up from January (and a lost Christmas card!)

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Core Band:

• Bass – John Levén
  • https://en.wikipedia.org/wiki/John_Lev%C3%A9n
  • Bassist for Europe and one of only two members (along with Joey Tempest) to perform on all of their albums.
  • Also played with Hughes on “Burning Japan Live.”
• Co-producer, Mixed By – Glenn Hughes
• Drums – Hempo Hildén
  • Alias:Hempo Hobo
  • Real name is Henrik Hilden:
  • https://sv.wikipedia.org/wiki/Hempo_Hild%C3%A9n
  • Also played with Don Dokken
  • Was percussionist in jazz group Splash
  • Sadly passed away in 2022.
• Guitar – Eric Bojfeldt
  • All credits with Hughes
• Guitar – Thomas Larsson (2)
  • Also played in the band Baltimoore.
• Keyboards – Mic Michaeli
  • https://en.wikipedia.org/wiki/Mic_Michaeli
  • Real name Gunnar Mathias Michaeli
  • Hundreds of credits on Discogs
  • Most famous as a member of Europe
• Vocals – Glenn Hughes

• Phonographic Copyright ℗ – Explorer Records
• Copyright © – Explorer Records
• Manufactured By – The Experience Entertainment Company, Inc.
• Distributed By – The Experience Entertainment Company, Inc.
• Recorded At – Nordic Sound Lab
• Mixed At – Steve Vai’s The Mothership
• Mastered At – Cutting Room AB

Technical:

• Engineer [Assisted By] – Anders Eliasson
  • https://sv.wikipedia.org/wiki/Anders_Eliasson_(rockmusiker)
  • Member of the band Lambretta
  • Also produced the Swedish band Small, Fat’n Beautiful.
• Mastered By – Peter Dahl
• Mixed By – Bruce Gowdy, Dave Ahlert*, Glenn Hughes
  • Dave ahlert worked with Fleetwood Mac, Oingo Boingo, Hughes Thrall, Donna Summer, Gordon Lightfoot, Rod Stewart, Elvis Costello, and many more.
• Mixed By [Assistant] – Matt Gruber
  • Engineer and producer who has worked extensively with Desmond Child
• Producer, Engineer – Bruce Gowdy
  • https://en.wikipedia.org/wiki/Bruce_Gowdy
  • In the band World Trade and produced albums.
• Co-producer – Glenn Hughes

Album Art & Booklet Review

• Layout, Design [Booklet] – Ann Djerv
• Photography By – Mats Oscarsson

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Album Tracks:

1. Pickin’ Up the Pieces
   • Written-By – Bruce Gowdy, Glenn Hughes
2. Lay My Body Down
   • Written-By – Glenn Hughes, Thomas Larsson
3. The Only One
   • Written-By – Eric Bojfeldt, Glenn Hughes
4. Why Don’t You Stay
   • Written-By – Glenn Hughes, Richard Baker
     • Baker was a former keyboardist in  Santana’s band.
     • https://www.richardjbaker.com/credits-.html
     • Also worked with Lynch Mob, Emerson Lake and Palmer, and Bruce Dickinson
5. Walkin’ On The Water
   • Written-By – Bruce Gowdy, Glenn Hughes

1. The Liar
   • Written-By – Glenn Hughes, Jean Beauvoir
   • https://www.jeanbeauvoir.com/
   • Was in The Plasmatics, co-wrote “Thrills in the Night” with Paul Stanley off Kiss’s Animalize album.
2. Into the Void
   • Written-By – Eric Bojfeldt, Glenn Hughes, Mic Michaeli

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  • I see DC
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For Further Information:

• https://en.wikipedia.org/wiki/From_Now_On…
• https://www.glennhughes.com/fno.html
• https://www.discogs.com/release/514152-Glenn-Hughes-From-Now-On
• https://www.discogs.com/release/5151668-Glenn-Hughes-From-Now-On
• https://ramzine.co.uk/news/trapeze-the-story-so-far/
• Darker Than Blue Issue 46  February / March 1994
  • http://www.deep-purple.net/DPASmags/dtb46.htm#5
• Darker Than Blue Issue 47  December 1994
  • http://www.deep-purple.net/DPASmags/dtb47.htm#6

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.