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Hey Nate & John! Let’s roll with Ashley { Still I hear, “Burn” } Rose. I Stumbled across this podcast looking for podcasts/interviews on Ronnie James Dio a few months ago and ever since have been making my way through all past & current episodes!
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This was the fourth of nine dates in Australia in 1999.
After the tour of Purpendicular there was a brief break as Ian Gillan and Jon Lord finished work on solo albums before returning to the studio to record Abandon.
In November negotiations began for Deep Purple to return to Australia and it was announced in January of 1999.
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John Miceli writes in (regarding Episode #226 – Rainbow – Live in Passaic, NJ 1979)
Hey Nate this is John Tony Danza Miceli. My friend and I went to that show. We scalped tickets for the show. 50 dollars for 2. Met Ritchie for the first time and got his autograph. During the encore Ritchie threw his Strat at us but we couldn’t hold on. To bad any great show and memories. Keep Rocking Guys.
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The album was put together on a limited budget of $13,000.
Satriani used two Kramer Pacer guitars and a modified Stratocaster where he changed the pickups to get different sounds.
Guitar effects used were the Roland JC-120, a Marshall ‘68 half-stack and a Rockman.
With the limited budget Satriani had to use whatever times and rooms were available. With the limited time he added the effects to tape while he recorded.
The album features a lot of drum machine, much like his debut, to save money.
Jeff Campitelli overdubbed hi-hats, toms, cymbals, and snare.
Recorded and mixed at Alpha And Omega Recording and Hyde Street Studios, San Francisco, California.
Core Band:
Drum Programming, Performer [Sound Design], Percussion – Bongo Bob Smith
Percussionist.
Played with Whitney Houston, Aretha Franklin, James Brown, Clarence Clemmons.
Currently works creative at Columbia Records. Formerly at Relativity, Lous, and Sony.
Worked with 24/7 Spyz (Gumbo Milennium), Steve Vai (Passion and Warfare), Additional albums with Joe Satriani, Peter Frampton, Easy E, Wu Tang Clan, Aerosmith (Honkin’ on Bobo), Vinnie Moore.
Originally Joe was going to title the album ”Lord of Karma” but changed it at the suggestion of a British journalist who said that it would give listeners the wrong idea about the album. Joe did his first interview about the album in the summer before it was released. The journalist said, “I don’t understand why guitarists always go into some Indian spiritual thing.” Joe called the label and asked to change the title to “Surfing with the Alien” because everyone will know he has a sense of humor and doesn’t take himself too seriously.
Satriani had a stipulation in his contract that his albums cannot have any negative or violent imagery.
The album cover features the Silver Surfer with the hand of Galactus on the back cover. The artwork was licensed from the publisher and was taken from Silver Surfer #1. Artwork was drawn by John Byrne. Byrne did not receive a royalty for the use on the album cover.
Satriani said he came up with the name and was unfamiliar with the comic book character. His production manager, Jim Kozlowski, was a big comic book fan and had used the name “Silver Surfer” when he was a radio DJ. He suggested the album art.
Marvel Comics later repaid Satriani by naming a planet “Satriani” in his honor.
The licensing for the cover was limited and had to be renewed. In 2018 Marvel and Satriani could not come to an agreement so the cover art had to be redone. All digital retailers and deluxe editions feature the new artwork.
The license was around $5,000 for 20 years. Silver Surfer was not doing well and this album helped boost it. Every year they kept “tightening the screws” on how much they charged to renew the artwork and eventually Joe had to just stop using the artwork.
The solos were recorded with a Eventide H949 which was malfunctioning. As it was the end of the studio time they went with the recording giving it its distinct sound.
Satriani said this song was written because he was a huge fan of science fiction. He said in sci-fi aliens are always attacking or trying to kill us but wouldn’t it be cool if they wanted to do something fun like go surfing..
Ice 9
Written referencing the substance from Kurt Vonnegut’s 1963 book “Cat’s Cradle.”
Crushing Day
Joe said this was the only solo he worked out in advance. All others were improvised.
Satriani said he regretted this and felt like he had to play this solo as is when ion stage.
On August 7th, 2007, Epic/Legacy Recordings celebrated the 20th anniversary of this groundbreaking album with the release of a new expanded edition of Surfing with the Alien. This meticulously restored two-disc set includes the newly remastered album and a previously never-before-seen live show filmed at the Montreux Jazz Festival in 1988. It also features new liner notes written by Joe and special deluxe packaging featuring photos, notes and other memorabilia from Joe’s personal archive.
On Nov 29th, 2019, Sony/Legacy released a Deluxe version in conjunction with Record Store Day, with new artwork and a bonus disc, Stripped — the Backing Tracks, featuring the songs with all guitar solos removed. This version received a wider digital release on Jan 14, 2020.
Reviews:
Kerrang!
AllMuisc:
Surfing with the Alien belongs to its era like Are You Experienced? belongs to its own — perhaps it doesn’t transcend its time the way the Jimi Hendrix Experience‘s 1967 debut does, but Joe Satriani’s 1987 breakthrough can be seen as the gold standard for guitar playing of the mid- to late ’80s, an album that captures everything that was good about the glory days of shred. Certainly, Satriani was unique among his peers in that his playing was so fluid that his technical skills never seemed like showboating — something that was somewhat true of his 1986 debut, Not of This Earth, but on Surfing with the Alien he married this dexterity to a true sense of melodic songcraft, a gift that helped him be that rare thing: a guitar virtuoso who ordinary listeners enjoyed. Nowhere is this more true than on “Always with Me, Always with You,” a genuine ballad — not beefed up with muscular power chords but rather sighing gently with its melody — but this knack was also evident on the ZZ Top homage “Satch Boogie” and the title track itself, both of which turned into rock radio hits. This melodic facility, plus his fondness for a good old-fashioned three-chord rock, separated Satriani from his shredding peers in 1987, many of whom were quite literally his students. But he was no throwback: he equaled his former students Steve Vai and Kirk Hammett in sweep picking and fretboard acrobatics and he had a sparkling, spacy quality to some of his songs — particularly the closing stretch of the Middle Eastern-flavored “Lords of Karma,” the twinkling “Midnight,” and “Echo” — that was thoroughly modern for 1987. The production of Surfing with the Alien is also thoroughly of its year — stiff drumbeats, sparkling productions — so much so that it can seem a bit like a relic from another era, but it’s fine that it doesn’t transcend its time: it captures the best of its era and is still impressive in that regard.
I actually found a review. It’s from a Norwegian magazine called Street Fighter (issue from April/May 1988), which, by the way, was the precursor to Scream Magazine that still exists today, and where I have found a couple of reviews before. Just some useful information first: Street Fighter had a scoring system going from 0 – 100 points, 100 being (obviously) the best score. Surfing With The Alien got 65 points, which means that it was perceived as a really good album. I have included a photo of the review itself and the cover of the magazine.
Here’s a translation of the review:
This is an excellent album for guitar freaks. Joe Satriani is one of the greatest guitar players today, and he really proves his chops on his new solo-album. This is, like his previous album “Not Of This Earth”, a 100 % instrumental album. What is negative about that, is that it’s too boring with only instrumental songs through the whole album. I would have been much more satisfied if he had joined up with a good singer. But – of course – the guitar playing matters a lot on this album. The guitar playing alone is worth 90 points, but I don’t want to give such a high score for a purely instrumental album. But what could have been if a great vocalist could have sung most of the songs? Well, we must take this album as the study in great guitar work that it is. Joe Satriani has his distinctive style, and when a song starts, you can hear that it’s him immediately. Guitar freaks must buy this album.
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Ive always considered myself a casual Deep Purple fan and more of a Rainbow guy. I went into this podcast expecting to check in on the occasional episode. After a handful of Rainbow and Ozzy episodes, I knew that the format would lend itself to my enjoyment of the Purple albums I only ever glossed over. I’m now a hooked fan of both the podcast and the band. In middle school my lit class had a project where we got to make a three song soundtrack for this book we were reading. I chose Deep Purple’s Perfect Strangers even though it wasn’t relevant to the book. At the time I had a copy of Stone Cold Metal(a compilation Stone Cold Steve Austin’s favorite metal songs) and wanted to shoehorn that track in somewhere because I enjoyed it so much(and it was the entrance music to a wrestler that I liked, “The Franchise” Shane Douglas). The other two songs were Fly by Sugar Ray(as was the style at the time) and a techno remix of the X Files theme…one out of three aint bad. P.S. Stone Cold Metal features DPP alum Dio and Rainbow as well(here’s a loosely related episode for ya!
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This week from Firenze!
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Drummer in the Steve Morse band, worked with Dio, Spencer Davis Group, Steve Vai, Kansas, the Dixie Dregs, and Blood, Sweat & Tears.. Played drums along with Deep Purple on the 1999 Concerto.
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John Scher, who was a rock promoter from West Orange, New Jersey, took advantage of the closure of the Fillmore East by transforming the Capitol Theatre into a rock venue.
Prior to the Fillmore closing on June 27, 1971, the rock promoter Bill Graham had a stipulation in his contract that acts that played at the Fillmore could not play at any theater within a 75 mile radius.
The first show at the Capitol Theatre was The J. Geils Band and Humble Pie on December 16, 1971.
Many notable acts performed at the theater including The Three Stooges, Frank Zappa, The Beach Boys, The Grateful Dead, Peter Frampton, The Rolling Stones, and many more.
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Ron writes in to discuss Blues and Podcasting apps.
This was never designed to be an old school blues record, this is white boys blues boogie hard rock. Think old school Aerosmith, big 10 inch, reefer headed woman , back back train!
Stitcher fan who went to pocket cast.
Excellent place to listen to you guys.
Apple Podcasts Reviews:
LordGillers from the UK – 5 Stars!
Deep Purple and Beyond
This podcast is a must for all fans of classic rock. Using Deep Purple, and it’s members, as the starting point, the podcast covers some of the best music since the late 60s as it branches out to cover the works of Deep Purple and it’s ex-members. Hosted by Nathan and John, in a relaxed, humorous manner – you’ll come across some classics as well as music you’ve never heard before (or forgotten), Plus, you’ll have a laugh on the way.
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From Ireland
And something from Connecticut, but it’s not a postcard!
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At college in 1962 Jon Lord formed a band called The Don Wilson Quartet. They played mostly covers all over including clubs, pubs, and weddings.
After College Jon got a job but wanted to keep the musical end of things.
The name of the group changed to Redd Bludd’s Bluesicians. The musicians were Don Wilson on vocals and bass, Derek Griffiths on guitar, Jon Lord on piano, and Reg Dunnage on drums.
At this same time Art Wood was working with his own group called The Art Wood Combo. The band eventually boke up. Wilson knew the group and suggested they form a new group using Wilson’s quartet. This would have been in early 1964.
They continued on as the Art Wood Combo for a time before changing the name to The Artwoods.
Don Wilson bought a Lowry organ for Jon. The band advertised as “a great organ-ised” combo.
Early on Don Wilson crashed the group’s van and broke both his legs. He was replaced on bass by Malcolm Pool from the group The Roadrunners.
Shortly after they were offered a recording deal for a single.
Reg worked at Heathrow and didn’t want to quit his day job so they looked for a new drummer and found Keef Hartley. He was reportedly found in the park clutching his drums. They auditioned him at The Tiles Club and he got the job.
In October of 1964 they recorded their first single “Sweet Mary.” It was moderately advertised and didn’t sell particularly well.
The band did a residence at the 100 Club in Oxford Street and Kooks Kleek in West Hampstead.
It was just before this that Jon Lord was rumored to have done the piano track for The Kinks’ “You Really Got Me” though there is a lot of evidence that this is not correct.
During this time Jon Lord sat in with Bo Diddley at the 100 Club. Bo Diddley was interesting in recording with the band and was very complimentary of them. The artist Little Walter said of the group “I thought white boys couldn’t play the blues, but they were playing the hell out of the music.”
The group’s second single, “Oh My Love” did about as well as their first.
In early 1965 they toured with P.J. Proby on two tours.
When Mike Vernon at Decca heard their early studio recordings he proposed taht they use Decca’s studio and record with them.
They recorded another single “I Take What I Want” which came out in May of 1966 and it made it into the Top 30.
They toured Poland and Paris and Jon used his earnings to purchase his Hammond on hire purchase. He ended up cutting the organ into two pieces to make it e3asier to get in and out of the clubs they were playing.
Jon paid £60 to have the organ cut in half. The manufacturers actually offered this as a service to make the instrument easier to transport. Jon said, “They cut it across just under the keyboard so that the generators are in one half and the amp and speakers are in the other. They modify it so that when you clip the two halves together the whole thing automatically connects. It means that it can be carried quite easily by two people, each one carrying a 1 ½-hundredweight section. It’s easier to pack in a can, too, and there is far less problem carrying it up and down stairs.” They even made padded carrying cases for the sections.
During this time Jon lord became more analytical of his own playing. Of this ye said, “I realised I was just playing Jimmy smith cliches most of the time like a thousand others. It occurred to me that I could use some of my classical knowledge. I tired to fit Bach fugues into what we were playing, not note for note, but just getting the feel of it. I think we were one of the first groups to use little chunks of classical music as an introduction for songs. We used Tchaikovsky as an intro to Sam Cooke’s Shake.”
Jon Lord: “This turned me on to the organ. I first heard it when I was a drama student and I didn’t even know what the instrument was making the sound.”
He also said: “It was Keef who wanted to do it; funnily enough it was one of our most popular numbers.”
Originally for the soundtrack of the movie of the same name.
The song Be My Lady was written by Booker T. Jones, Steve Cropper, Donald “Duck” Dunn and Al Jackson Jr. and was first released by Booker T. & The MG’s in 1965.
The Artwoods were a popular live act on par with bands like The Animals. Their record sales, however, were never strong.
In early 1967 Hans Bregel and a Germany Symphony Orchestra from Frankfurt approached them about the idea of writing a special piece of music together. This didn’t happen and the band wouldn’t last through 1967.
The R ‘n’ B scene was starting to fade at this time giving rise to many more rock acts. Keef Hartley left the band and of it he says, “It was a nightmare, I was always unhappy and got the sack in April. I was given two weeks notice.” He was replaced by drummer Colin Martin. The group set out to tour Denmark only to get there and find out it had been canceled. The promoter got them some gigs at the last minute and the following year the new group Roundabout would connect with him to do the same.
At the end the Artwoods recorded their last single “What Shall I Do” and even started writing their own material.
A promoter named Jack Baverstock was looking for a band where he could capitalize on the gangster craze that had sparked up around the movie Bonnie & Clyde. The Artwoods accepted this and changed their name to The St. Valentines Day Massacre. They recorded a cover of “Brother Can You Spare A Dime” which was their only release they’d have before disbanding.
On the single they were dressed up like gangsters and holding tommy guns in pin-striped suits. They had to wear these costumes on stage. Of this Lord said, “I felt bloody ridiculous, wawe all did.
After this they disbanded and Jon returned to session work and a few other projects but there will be more on that in future episodes.
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GLENN HUGHES – BLUES – LA BLUES AUTHORITY Volume 2 : Roadrunner RR 9088 2: Germany : March 1993 CD From what I can gather, advance orders for this CD were so good that Roadrunner had to delay the release here to avoid running out of stock almost immediately. It hasn’t set the charts alight true, but there are people out there who have been itching to go out and buy a Glenn Hughes album for years. Have they been rewarded? The general opinion is this will do very nicely to be going on with. If we accept it for what it is, a glorified session, then it works well. Glenn is in fine form. Beyond that, the disc lacks any real musical soul. No matter how hard Glenn works, the backings sound very pedestrian really, and lack the excitement that a proper group might have brought to the proceedings. So far it is the opening couple of cuts which impressed me the most, but we’ll see how it developes with a little more air-time.
“The title of this album is rather misleading. The style is actually more LA hard rock/ blues, due no doubt to the numerous hot-shot guitar proteges on show. To be fair some of the playing isn’t bad (Erikson for example), it’s just that a lot of the material cries out for a guitarist who understands the dynamics and subtleties of blues influenced music-someone like Jeff Healey, Jimmie Vaughan etc. Glenn’s vocal performance is naturally the highlight. Let’s hope it bodes well for the future, and next time puts together a band that can mesh into a more individual sound to match his undoubed talents”. Roy Davies
VARIOUS ARTISTS / L.A. BLUES AUTHORITY : Roadrunner RR 2398 3: Holland : 1992 5″ CD. Spotted by Pierre Caeiro, this three track single kicks off with the only track on the ORIGINAL album to feature Glenn Hughes (a version of “Messin’ With The Kid”), so as Pierre rightly points out, it saves us forking out for the full price CD! However I don’t think it’s been issued properly in the UK, so it might take some finding.
Scream Magazine, Issue 14, 1993
Article not discussed on show as we got it after recording.
Translated by Øyvind Fjeldbu
Album received a 3 out of 6 score.
The journalist’s remarks are in bold, and Glenn’s answers are introduced by (Hughes) and put in brackets:
That Glenn Hughes would do a comeback as a blues singer was probably not what most people would have expected. Even if the man has had a versatile career, he has – as far as I know – never been close to this kind of music. “Blues” contains – not surprisingly – clean and sharp blues! Very similar to what Gary Moore is doing, but maybe not so accomplished! Hughes’ vocal performance is impressive. The songs come and go, and it is difficult to highlight any one of them, even if the ballad probably is the best one. Essentially an album for die-hard fans and extreme blues freaks!
After some minor problems (the line was broken, my notes forgotten somewhere, bla, bla, bla…) I got to talk to a very stressed Glenn Hughes. I guess the man had had quite a few interviews earlier that day, as he seemed rather tense and tired. A completely awful phone line did not improve things at all! But I managed in the end to squeeze out of him the most important stuff, and I hope I can do a more relaxed interview with him when the “real” comeback record is released! Because “Blues”, as the current record is entitled, is just a foretaste of what is to come…
(Hughes) – “Yes, I made this record just for the fun of it, after Mike Varney asked me to sing lead on a song with L.A. Blues Authority. I did so, and had the idea to make a whole album with blues songs to have a break from the writing and recording of the other album. The fact is that it took me two weeks to write the songs, and two weeks to record them – so in a month the job was done. Very fun, indeed! The comeback album, as I have said I am currently working on, will be released at the end of the year.”
In other words, no reason to assume that Glenn will continue as a blues performer. This album is quite similar to what Gary Moore is doing, isn’t it?
(Hughes) – “Yes, correct. It probably is.”
The only difference is just that you sing better than him, right?
(Hughes) – “Of course”, he answers arrogantly.
The album is written with someone named Craig Erickson, a completely unknown in this game, and according to Glenn a fantastic guy. Other players on “Blues” is more or less every celebrity there is, for instance Mick Mars, John Norum, Richie Kotzen, Warren De Martini and many more! How did he get in touch with these people?
(Hughes) – “Well, they are all my friends, so as I kept writing songs I thought about who would fit the different songs in the best way, and then I simply asked them.”
Okay to have such friends, or what? Glenn Hughes performed a lot of the vocals on John Norum’s “Face The Truth” from last year. Is this something he can see himself continuing with?
(Hughes) – “No, I don’t think so. The thing is that at the moment I feel I’m finished singing on other people’s records. Now I want to do my own thing.”
So you don’t miss being a member in a band?
(Hughes) – “No! I want to be a solo artist.”
Glenn Hughes’ career has been long and characterized by good times and hard times. There is no hiding the fact that he has had huge drug and alcohol problems in his life, but these problems are now reportedly over. If we look at the bands and the projects he has been involved with, the list is infinitely long! Trapeze, Purple, Sabbath, Hughes/Thrall, Gary Moore, Phenomena, John Norum and KLF. When I ask him which one of these projects he values the most, he answers, surprisingly:
(Hughes) – “The Hughes/Thrall period was probably the one I personally think was the best.”
He says why, too, but the noise in the telephone is now so intense that his voice simply disappears. Damn, that’s so irritating! The last thing I managed to catch from him was that he plans to do some shows in Sweden, but only the gods know who he is to play with!
According to himself, Glenn has no contact with his former bandmates in Purple etc. today. The man sure has some talent, so I guess it is just a matter of time before he gets a well-deserved comeback. We will find that out at the end of the year. In the meantime it is possible to hear him sing clean blues on this new album, which – as noted earlier – carries the very telling title “Blues”!
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Did photography for Tony McAlpine’s “Freedom to Fly” album.
From Japanese Book on Glenn Hughes.Very rough translation with Google Lens.
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“My first album since finding my Higher Power. I choose to call him God. I used to call him Glenn, but that pissed him off. When Mike Varney asked me to put together a blues project, I thought it would be a challenge, something that I love. This CD deals with my personal demons. It is a healing album, written and recorded in three weeks. It’s raw, and it’s real.”
Favorite song – Life Of Misery
Favorite ballad – So Much Love To Give
Album Tracks:
The Boy Can Sing the Blues (Hughes, Erickson, Varney)
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Nate and Scott return to finish their review of this amazing Beatles album. We’re digging into the original version of Revolver! In this episode we talk about our thoughts on the band and history with this album and era of The Beatles and start to get into the music.
Nate is back to cover another Beatles adventure. We’re digging into the original version of Revolver! In this episode we talk about our thoughts on the band and history with this album and era of The Beatles and start to get into the music.
