Posts Tagged “Deep Purple”


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Robb Flynn of San Francisco Bay Area metallers MACHINE HEAD has posted the latest installment of his online blog, “The General Journals: Diary Of A Frontman… And Other Ramblings”. It follows below in its entirety.

“I’m in a shitty mood.

“Not for the story I’m about to tell, but because of my thoughts afterward.

“I went out to San Francisco for my buddy Joe‘s birthday shenanigans. We went out for Moroccan food at a joint called El Mansour. The place had a great vibe, belly dancing, sword balancing, and amazing food! The lamb in particular was to-freakin’-die-for, slow roasted and covered in honey and cinnamon.

“On the way out there, Joe‘s buddy Tony picked me up from JingleTown [studio], since I didn’t want to drive as I knew I’d be drinking. On the hour-long trip out (Saturday traffic to San Francisco), he was telling me some pretty awesome stories about growing up in the ”70s. You see, Tony was a teenager in 1975, and used to go the famous San Francisco venue Winterland. Winterland was before my time, but being part of the scene you heard the legend, the stories and the history.

Tony is a big BLACK SABBATH fan, saw them back in ’75 on the ‘Sabotage’ tour and said it was a life-changing experience. Him and his buddies used to go to Winterland, load up on LSD, cigarettes, and weed, and go watch pretty much the cream of the crop of classic rock bands. TED NUGENT, SABBATH, DEEP PURPLE, JOURNEY, MONTROSE, you name it, he went and saw it. The shows would start and if people loved the opening band (essentially cheering non-stop) they’d get to do encores. He was telling me about a show JOURNEY (the opener!), killed it, and they got 4 encores, the support band got 4 encores! Then the headliner, MONTROSE, got 5 ENCORES! MONTROSE didn’t stop playing until 2:30 in the morning, everyone stayed, no one would even dare consider leaving and people experienced some of the best music of their lives.

“An opener getting encores, crazy…

“And the venue allowed things like this to happen. The venue just kept the bands rolling.

“Not only that, but all of the shows at Winterland were $4.50.

“4 dollars and 50 cents…..18 freakin’ quarters!

“Wow…?!?

“All I could think of was ‘what an amazing time for music.’

“People wonder why the ‘classic rock’ bands were so good. They were playing by their own rules, and they had a culture of venues and people around that were as crazy and fly-by-the-seat-of-their-pants as the bands themselves. The promoters around that time did anything to make the bands happy and if it meant playing all goddamn night? Let ‘em!

“I tell you right now, though, there isn’t a band out there who would play til 2:30 a.m. nowadays, let alone find a major venue that would even ALLOW such a thing.

“I remember when I first started going to /playing thrash shows, it was a very similar thing. It was no rules, no security, no safety, no curfews, and for the most part anything went!
Venues these days are mostly run with union workers. In most major cities, you have to take breaks during the day, where a band can’t even sound check for an hour because the union workers need a ‘break.’ Nowadays if you play 1 minute past 11 p.m. at any of the large union venues, it costs the band $1,000 dollars a minute. When we were out with METALLICA playing arenas they regularly play 20 minutes past 11:00 p.m., and they regularly paid $20,000 to do so.

“I went and saw PEARL JAM about a month ago, and they played one of the best, most truly rock ‘n’ roll shows I’ve seen in eons. It was fucking magical, Eddie Vedder drank 3 bottles of wine, and about 2 hours into the set, he started getting a little sloppy, forgetting lyrics, missing cues, it looked like it was about to fall off the rails. The band then they took a quick break and he came back and played ‘Black’.

“Let me tell you, it was magic! I’m getting goose bumps writing this, just remembering it. It was such a turn-around; it totally took the night to an even higher level. At this point they were already 45 minutes past 11. They played several more songs and eventually the Oakland Arena (currently called the Oracle Arena, until some different stupid corporate sponsor buys it and changes it to something ridiculous like Florida’s 1-800-Ask Gary Amphitheater) turned on the house lights, signaling them to stop. PEARL JAM said ‘fuck you!’ and played 2 more songs with the house lights on! Eddie Vedder then brought the band back out onstage to do an extra-long goodbye to the crowd. I love their fucking attitude.

“In the end, they played 70 minutes over ‘curfew’ and I’d imagine left Oakland about $70,000 dollars lighter to do so. Of course PEARL JAM can afford it, and frankly it gave every single person there one of the best shows of their life. But this gesture to keep the ‘room’ in a good mood in conjunction with the Winterland conversation, it got me thinking.

“Shit has changed.

“On the one hand, I love PEARL JAM‘s ‘fuck you, were doing it our way’ attitude, and on the other hand, it angered and depressed me.

“Only the METALLICAs and PEARL JAMs can pull things like this. Bands that have sold millions of records, and they can afford it.

“If MACHINE HEAD tried playing an hour over curfew at say, the House Of Blues in Dallas, Texas, we’d be walking out of there with our entire guarantee eaten up. Even if the fans wanted it, some venue would do their best to shut it down, cut power, close curtain, whatever.

“The music business has sucked the life out of creativity. No one is encouraged to take risks, no one is encouraged to push the envelope, because it’s all about first-week sales! It’s about pointless radio play and how good your last tour went. How venues and promoters are squeezing the last drop of spontaneity out of your soul by not ‘allowing’ you to playing past curfew and not drawing outside the line.

“When we play that game, we essentially applaud mediocrity.

“There’s nothing dangerous about music these days, there’s nothing surprising about it either. There can’t be. Other than PEARL JAM, the only ‘band’ that doesn’t seem to really give a flying fuck and plays by their own rules isn’t really a band at all, are they? Axl and the ROSES are known for bending the rules and telling the powers that be to ‘fuck off,’ but because their band is so confusing they come across as a joke. But people don’t see this. People don’t see any of this!

“And the reason you don’t care is because it’s too easy to get sucked into your phone, or your Facebook, or your Twitter, or your Tumblr, or your Instagram, or your games, or your TV shows.

“Music isn’t important anymore. Say it is all you want, but the fact is, the 2 biggest rock records of last year only sold 400,000 copies, neither even went gold.

“Music is in the background of a game. Why go to a show when you can watch clips of it on YouTube and bitch about how it stinks live?

“And you know what, I miss music being important! I miss live shows being important. I miss feeling a part of something that was so high on my list I’d crawl through broken glass to get it.

“All this technology we have now that’s supposed to make us ‘connected?’ It’s making me feel more fucking disconnected than ever. I mean watching all the things that other people are doing that I’m not invited to or even a apart of? And yet at the same time completely disgusted by faux-self-importance it has given everyone, (here’s my dog or cat for the millionth time, here’s a selfie for the millionth time, here’s my kids for the millionth time, here’ the food I’m eating for the millionth time, here’s what I’m doing and you’re not). Don’t you wish you were eating what I’m eating?

“Fuck you!

I’ve thought of tweeting or Facebooking something so many time and just went, ‘who cares’, why should anyone care about this, and you SHOULDN’T care.

“You’re all my ‘friends,’ you’ve all ‘liked’ me, but really, you’re not my friends, because we don’t know each other. You took a photo of me, or you interviewed me, or we talked after a show. And after you get past the initial coolness, of re-connecting with someone from high school on Facebook or Twitter, you realize you truly have drifted apart.

“And fuckin’ A, I’m glad we did.

“I don’t want to be ‘friends’ with everyone; I don’t want to be ‘liked’ by everyone. I want to feel connected to something. And nothing I look at in the music business does that. I don’t get radio bands; I don’t get any of these fucking ‘scene bands.’ I don’t get bands singing about how great being American is, as if the geographic location you were born, (and had zero control over in any way shape or form), somehow makes us better than any other geographical place of birth!?

“I don’t get why people don’t want to see live music anymore, I don’t get it. Did you see the clip of Hetfield talking about how America needs to start ‘wanting’ music again? This is James ‘Fucking’ Hetfield talking, people! Didn’t those words do anything to anyone? Didn’t what he said make you feel a bit disgusted? I’m a METALLICA fan and those words being spoken kind of stung a bit.

“You can bitch all you want that MACHINE HEAD only does festival tours and only plays for 30 minutes, but all those bands (including us) that play festival tours, can’t draw squat when were not on festival tours. And even the big metal festivals are having troubles. Maybe the days of bands touring is coming to an end? Bands didn’t always tour, you know, Mozart didn’t hit the road for a year or 2 back in the day. Touring is really a phenomenon of the last 60 years or so. People didn’t always buy records, or CDs, or files, or streams, that’s also a phenomenon of the last 60 or 70 years.

“I don’t get the political fucking correctness of music anymore.

“I don’t get the narrow-mindedness of the world anymore.

“I don’t get people asking me every week to try and write ‘more like ‘Burn My Eyes’, please.’

“I don’t get religious nutjobs who think that when they die they’re going to 72 virgins when they get to heaven. (‘You’re guaranteed to get some pussy in the afterlife, boys,’ so obviously written by a man!)

“I don’t get religious fucking nutjobs who think that Jesus is coming back soon, wearing a white, blood-stained robe (stained with the blood of his enemies…whoever those are) and will be carrying a sword, and by ‘sword,’ the bible meant an AR-15!

“What did Napoleon say? ‘Religion is what keeps the poor from murdering the rich.’

“I don’t get why we need to hear ‘America The Beautiful’ and ‘thank a soldier’ in a TV commercial, 22 and 14 times respectively during the Superbowl.

“I don’t fucking get it.

“You don’t care about music, and I don’t care about music, and I sit here wondering if this feeling is a result of the business itself, or is the business a result of our own apathy towards music.

I feel lost.

“I feel alone.

“Something has to change.

“Someone has to stir the pot.

“Something needs to come along and wake us up out of the slumber.”

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DEEP PURPLE will release the track “Above And Beyond” as a CD-single and on seven-inch vinyl on October 25 in Europe. The single artwork was based on the original graphic work of Black Dwarf Designs.

A promotional video for the single can be seen below.

“Above And Beyond” comes off DEEP PURPLE‘s latest album, “Now What?!”, which sold 4,000 copies in the United States in its first week of release to debut at position No. 115 on The Billboard 200 chart.

“Now What?!”, the 19th studio album from DEEP PURPLE, was released in North America on April 30 via earMUSIC, the Hamburg, Germany-based international rock label which is part of Edel Group.

After various songwriting sessions in Europe, the band recorded and mixed the album in Nashville, Tennessee with producer Bob Ezrin (KISS, PINK FLOYD, PETER GABRIEL, ALICE COOPER, KANSAS). The CD contain 11 tracks, including “Out Of Hand”, “Weirdistan”, “Uncommon Man” and “Above And Beyond”. The latter song references the band’s late keyboard player, Jon Lord, in the lyric “Souls having touched are forever entwined.”

In a recent interview with RadioMetal.com, DEEP PURPLE singer Ian Gillan stated about the songwriting process for “Now What?!”: “There were no rules. We started with nothing, except the right attitude; that’s all. Every day, it was the same routine: the guys walked in at noon and we all worked until 6 o’clock on the writing sessions. We just stopped at 3 o’clock for a cup of tea. After 6 o’clock, we would go home, have a shower, some dinner and go to bed early, even if I’m always up in the middle of the night, writing lyrics. We start at 10 o’ clock the next morning when we’re recording. But the writing is always noon until six. It starts with nothing. Ian [Paice, drummer] and Roger [Glover, bassist] would start jamming, playing for an hour non-stop and trying out some rhythms or grooves. They would stop and say, ‘No, that’s not good,’ then start something else and say, ‘Remember that. Maybe on Thursday we’ll try this again and maybe it’ll be a song.’ Everything emerged from jamming sessions.”

deeppurpleabovesingle_600

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DEEP PURPLE will release the track “Above And Beyond” as a CD-single and on seven-inch vinyl on October 25 in Europe. The single artwork, based on the original graphic work of Black Dwarf Designs, can be seen below.

“Above And Beyond” comes off DEEP PURPLE‘s latest album, “Now What?!”, which sold 4,000 copies in the United States in its first week of release to debut at position No. 115 on The Billboard 200 chart.

“Now What?!”, the 19th studio album from DEEP PURPLE, was released in North America on April 30 via earMUSIC, the Hamburg, Germany-based international rock label which is part of Edel Group.

After various songwriting sessions in Europe, the band recorded and mixed the album in Nashville, Tennessee with producer Bob Ezrin (KISS, PINK FLOYD, PETER GABRIEL, ALICE COOPER, KANSAS). The CD contain 11 tracks, including “Out Of Hand”, “Weirdistan”, “Uncommon Man” and “Above And Beyond”. The latter song references the band’s late keyboard player, Jon Lord, in the lyric “Souls having touched are forever entwined.”

In a recent interview with RadioMetal.com, DEEP PURPLE singer Ian Gillan stated about the songwriting process for “Now What?!”: “There were no rules. We started with nothing, except the right attitude; that’s all. Every day, it was the same routine: the guys walked in at noon and we all worked until 6 o’clock on the writing sessions. We just stopped at 3 o’clock for a cup of tea. After 6 o’clock, we would go home, have a shower, some dinner and go to bed early, even if I’m always up in the middle of the night, writing lyrics. We start at 10 o’ clock the next morning when we’re recording. But the writing is always noon until six. It starts with nothing. Ian [Paice, drummer] and Roger [Glover, bassist] would start jamming, playing for an hour non-stop and trying out some rhythms or grooves. They would stop and say, ‘No, that’s not good,’ then start something else and say, ‘Remember that. Maybe on Thursday we’ll try this again and maybe it’ll be a song.’ Everything emerged from jamming sessions.”

deeppurpleabovesingle_600

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1984 saw the long-awaited reunion of the classic DEEP PURPLE Mark II lineup of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice. It was the first time they had been together since 1973. They recorded a brand new studio album, “Perfect Strangers”, and headed out on tour. The band’s show in Melbourne, Australia was professionally filmed and is the only full-length concert recording of the band at this time.

The “Perfect Strangers Live” DVD — due out October 14 via Eagle Vision — is a stunning concert with the band in incendiary form. The setlist mixes then new tracks from the “Perfect Strangers” album with favourites from the early seventies culminating in the brilliant “Smoke On The Water” finale. This is without doubt one of the finest DEEP PURPLE concerts ever filmed and a must have for their legions of fans.

“Perfect Strangers Live” is 141 minutes long and features the following tracks:

01. Highway Star
02. Nobody’s Home
03. Strange Kind Of Woman
04. A Gypsy’s Kiss
05. Perfect Strangers
06. Under The Gun
07. Knocking At Your Back Door
08. Lazy (including Ian Paice drum solo)
09. Child In Time
10. Difficult To Cure
11. Jon Lord Keyboard Solo
12. Space Truckin’ (with Ritchie Blackmore guitar solo)
13. Black Night
14. Speed King
15. Smoke On The Water

Bonus feature: Tour documentary

A performance clip of the song “Perfect Strangers” from “Perfect Strangers Live” can be seen below.

deeppurpleperfectstrangers_600

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Mark Dean of MyGlobalMind webzine recently conducted an interview with DEEP PURPLE singer Ian Gillan. A couple of excerpts from the chat follow below.

MyGlobalMind: Today you are in Belgium on yet another tour. What drives you? How do you still remain focused, enthusiastic and passionate about touring and playing music?

Ian: Well, I have been touring since I got my first band in 1962, so there is no problem there. We are basically performing musicians, so that’s what we do. It’s really, really exciting up there every night. I get to look forward to it from about lunchtime on show days five days a week. There is no problem maintaining enthusiasm. There is a big challenge up there; you never know quite what is going to happen during a show. It’s is fresh every day, and I am lucky. I am with a bunch of fine musicians and the band is hot, so it’s a natural state of enthusiasm.

MyGlobalMind: With the increasing reliance of people on the Internet, is there any misconception that you have read about yourself?

Ian: No, not really. I have heard that my Wikipedia entry is completely incorrect, but then again, so is everyone else s. I haven’t bothered about that. Internet is a good and convenient device for us for easy communication. It has lots of value. I don’t know, really, how relevant it is in terms of making music. Nowadays, it is very important as far as selling music is concerned. It has two different aspects, one of which is very important and one of which is not important at all. That is the side and part of the business that I never really took much interest in, as I mentioned before, about commercial values and that sort of thing. We just do what we feel is good. An album represents an artist, or a band, or a group of musicians at any given moment in time. You just produce the music that you feel good about and hope that the audience shows some interest in it.

MyGlobalMind: Looking back, what are you most proud of? A business venture, something musical or your charity work?

Ian: I don’t know. It’s all relative, isn’t it? It’s a question of your own perception or how other people see it. I don’t know if pride comes into my life very much. Mostly pride is personal to stuff, I guess. I haven’t really thought about that. “[The] feel-good factor?” I don’t know there’s a lot of stuff. I think that when you are a kid, you have stuff that is your favorite. You have your favorite, your favorite color… I remember filling in all the questionnaires when I was a young musician. They wanted to know an anecdote and I didn’t have any because I had no experience. They wanted to know your favorite car, your favorite football club, pet, color… actors, favorite musicians… It was quite easy to say who it was, but as time goes on, you have a more balanced perspective. I am not trying to be evasive but pride… I don’t know.

MyGlobalMind: I read that you agreed to join BLACK SABBATH after a heavy night out with Tony Iommi. Looking back, how do you view the period that you spent with BLACK SABBATH?

Ian: That was the longest party that I ever went to. That lasted about a year— the recording and the tour. I was at a loose end, I had no band and they had no singer. It worked out pretty conveniently for all of us, really. Yeah, we went out and got smashed one night — Tony, Geezer Butler and I. We ended up under the table and had to be swept out. My manager called me the next day and said if you are going to make career decisions, maybe you should give me a call first. I said that I don’t know what you are talking about, but apparently I had agreed to join BLACK SABBATH the night before. It was one of those things and I had a fantastic time. I have great memories of it and I am still in touch with Tony. We do a few bits and pieces together. I’m just following his progress on tour in America at the moment.

MyGlobalMind: Have you any ambitions as yet unfulfilled?

Ian: Well, I can tell you the truth, I never had any ambitions in the first place. All of this has been a joy, it’s been a life of absolute luck and fortune. I have enjoyed every minute of it. Things that have happened have been mostly opportunist. Something has come along and I have made a decision and I have always liked to take the scenic route in life. I am not so keen on the rock and roll highway. If I see something interesting, I generally would wander off and take a look, and life’s been good to me. So… ambitions, no — I never had any ambitions in the first place. I am just a lucky guy.

Read the entire interview at MyGlobalMind.

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On August 5, WHITESNAKE/ex-DEEP PURPLE singer David Coverdale was interviewed by Lamont and Sully of the “Lamont And Tonelli Show”, which airs on the Bay Area rock station 107.7 The Bone.

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A spectacular collection of rare and unreleased recordings from Tommy Bolin, famed guitarist of DEEP PURPLE, JAMES GANG and the BILLY COBHAM band, will be released on August 13 by Purple Pyramid Records.

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Singer Ian explains why he thinks he’s better off without former bandmate in his life.

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DEEP PURPLE singer Ian Gillan was interviewed earlier this year on the Buenos Aires, Argentina radio station Vorterix Rock 103.1.

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1984 saw the long-awaited reunion of the classic DEEP PURPLE Mark II lineup of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice.

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