DEEP PURPLE DIGEST #4
In this issue:
Topic clarifications
Ian Gillan's sore throat
Ritchie's Russian Plans Modified
CTTB review #2
In Rock review
Some REALLY SHORT reviews...
Fireball review
DP/ELP/Dream Theatre concert review (15 August)
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Just a reminder from the Moderator: Rainbow, Whitesnake, Glenn Hughes and
Ian Gillan solos, Gemini Suite, Roger Glover solo, whatever else has at
least one current or former member of DP involved is on-topic for the list.
A few of you have asked about it and I wanted to let you know it was OK.
The Captain and Tenille would be off-topic unless it was revealed that Jon
Lord was really playing keyboards for that act. And if he did, I don't want
to know. :-)
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-----Original Message-----
From: Svante Pettersson
To: Deep Purple Digest
Date: Saturday, August 29, 1998 6:54 PM
Subject: Re: Is Ian Losing His Voice?
At 21:37 1998-08-28 -0500, Tom Swoboda wrote:
> I was just wondering if anyone here has seen Purple on the Abandon
>tour, and what you thought. I heard the three or four songs were axed from
>the set because Ian's losing his voice; did you notice any problems with
>Ian?
I saw two of the shows in Germany earlier this year and the first five
shows of the current US tour. I was supposed to see the sixth show as well
but that show got cancelled because Gillan got sick and lost his voice. The
German shows and the US shows up until Jones Beach, NY were excellent. Many
people have commented that Gillan sounded better then ever on this tour and
I have to agree. In Jones Beach however he got sick as I mentioned, and
apparently he hasn't been able to recover fully yet.
Take care,
/Svante Pettersson,
Editor, The Highway Star - http://www.deep-purple.com/
Deep Purple Family Tree Website - http://deep-purple.family-tree.org/
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-----Original Message-----
From: Svante Pettersson
To: Deep Purple Digest
Date: Saturday, August 29, 1998 7:16 PM
Subject: Tour Update
I got this today. I don't know if you want to deal with Ritchie's current
projects or not on your mailing list. Feel free to use it in the digest if
you think it's interesting. [Ed's note: Yup. It's interesting. This stuff is
OK by me.]
>From: Ritchie Blackmore Mailing List
>Date: Sat, 29 Aug 1998 20:51:37 "GMT"
>
>Dear Fans in Russia,
>
>We are deeply concerned about the difficult situations
>you are enduring at this time. We hope that the political and financial
>problems are soon resolved. Due to the instability of the current political
>situation, we regret we will not be able to bring Blackmore' s Night to
>Russsia at this time. We hope to be able to perform for you in the near
>future. We will keep you in our thoughts- keep music in your hearts.
>
>Regards,
>
>Ritchie and Candice
>
>Due to the political situation in Russia, our dates in Greece will be
slightly
>changed. We will be performing in Athens on Sept. 21 at the International
Rock
>Awards- for other dates in Greece please watch our site for updated
>information, or call media arts 30 1729 4385,or e mail them at
>mediart(at-a-domain-named)acropolis.net
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From: Dean Webb
dplist(at-a-domain-named)geocities.com
Come Taste the Band review...
I was planning to review CTTB and had just finished listening to it when
Jim sent in his excellent review. It may make him a little sadder to find
out that I couldn't give it more than a 6.
He should be happy, though, that it didn't get any worse. CTTB has
always been the least-played DP album in my collection because I never did
quite get into it. I expected to give it a much lower rating, but a fresh
appraisal of Bolin's guitar and the efforts from the rest of the band gave
me a new appreciation of the platter.
For me, "Comin' Home", "Gettin' Tighter", and "Drifter" were the tops on
the album. Good as they were, they weren't superlative. I felt that on much
of the album, two or three different solo projects were going on
simultaneously and that the soloists Hughes, Coverdale, and Bolin all did a
fine job, but were pulling in different directions. The group just didn't
really gel on the album, and it suffers for it.
I have the album on vinyl. It's not so vital to me that I have to have
it backed up on CD, but not so bad that I would consider parting with it.
It's got some rockers, and I plan to make a mix with them on it one day
soon.
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-----Original Message-----
From: Mark Sommer
To: dplist(at-a-domain-named)geocities.com
Date: Sunday, August 30, 1998 6:29 AM
Subject: REVIEW OF IN ROCK
In Rock was the first album composed by the MK 2 lineup, and in my mind
the greatest. It opens with a hell of a lot of noise in the starting crash
of Speed King, and continues loudly untill the last note of Hard Lovin'
Man.
Allot of long solo's from Jon ( Flight of the Rat, Livin Wreck), and many
from Ritchie as well (Child In Time, Hard Lovin' Man). Roger keeps the
bass line nice and simple with a few sharp changes in direction and Ian
Paice is solid on the drums, with a few of the songs ending with a short
jam. Ian Gillan deserves the biggest rap of all. His vocals on this album
are uncomparable. From his sweet, quiet tone at the beggining of Child in
Time, to his unrivalled screaming in the middle and end sections. What a
voice.
To put it simply, In Rock lives up to it's name. IT ROCKS !!!!
10/10
Paul Sommer
sharkie59(at-a-domain-named)hotmail.com
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-----Original Message-----
From: IluvGillan(at-a-domain-named)aol.com
To: dplist(at-a-domain-named)geocities.com
Date: Sunday, August 30, 1998 5:25 PM
Subject: Who do we think we are? & Fire ball & abandon
Who do we think we are? is a # 10.
Fireball is a # 10.....
Abandon is a # 8
Abandon is really good except some of the song IG sounds alittle bit like
Tull.
Cheers, Sue Rose
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-----Original Message-----
From: Rob Richardson
To: dplist(at-a-domain-named)geocities.com
Date: Sunday, August 30, 1998 6:20 PM
Subject: Re: Album reviews
Ok, here's a review that may get people flaming.... we'll see
Deep Purple
FIREBALL (1971)
Rating:10 (yes that's ten). This album is tied with the ultra-successful
Machine Head as the finest work Deep Purple has done.
Sometime not given its just due, since the next album would be Machine
Head, easily the band's best-selling product, Fireball is an excellent
piece of work. The band plays excellently and takes a lot of chances,
expanding the scope of what it can do and how it is thought of. A
generic safe, color-by-numbers release this is not. This album is the
band's most experimental of the Mark 2 lineup.
A song called Fireball, this one - All four musicians are playing at a
high level showing the virtuosity it should be known for. Even Roger can
be easily heard in the mix, and he's playing very well.
No No No - Although this song stands out less than any other song on the
album, it still boasts a tasty blues lick by Ritchie.
Strange Kind of Woman - Some of the more expressive lyrics written by the
band and a well-told story. Ritchie is incredible and Ian Paice does
quite well.
Anyone's Daughter - As Big Ian said once (or more perhaps), "you
certainly can see the roots of heavy metal in this song".....not. This
song was almost left off the album to be replaced by "Slow Train" as it
didn't seem to fit. An English hard rock band playing country music?
Well kind of, and elements of folk music, most likely thanks to Roger,
can also be heard. This was certainly not what people expected from Deep
Purple. Although I really like Deep Purple when they are at their
darkest and hardest ("Into The Fire" and "Fools" come to mind), this
soft touch is very well put together and the song is well-written. Jon
Lord plays great piano on this tune and the lyrics are quite illustrative
as well.
The Mule - Some of Ian Paice's most impressive work he'd ever done in the
studio.
Fools - As dark and heavy as any song the band had done before outside of
"Into The Fire". Gillan and Blackmore really shine on this track.
No One Came - One of my all-time favorite Deep Purple songs. A very
tasty Blackmore solo, Paice plays fantastically, and also great biting
lyrics sang very well by Big Ian. "It's only the glitter and shine that
gets through....... Where's my Robin Hood outfit?"
Of all Deep Purple albums, this one has Ian Paice at his best and
probably the best lyrics the band has ever written. All members of the
band seem to have a hand in this one's direction, as opposed to the next
album "Machine Head", where Ritchie Blackmore clearly took the reins and
dominated the sound. If you haven't listened to this one all the way
through recently, do your ears a favor and do so.
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-----Original Message-----
From: Julie Wilson
To: dplist(at-a-domain-named)geocities.com
Date: Sunday, August 30, 1998 7:53 PM
Subject: Concert Review/Detroit
DEEP PURPLE
EMERSON, LAKE and PALMER
DREAM THEATER
Pine Knob, Clarkston, MI
8-15-98
At first glance you might think that the day would be filled with
about as much pretense and pomp as could be managed in a four-hour show.
With Names as significant in rock music history, how could there not be?
Though pomp certainly played a large roll in the evening's entertainment,
the signs of pretension were never to be seen, at least by the performers on
stage. Without reservation I can say that this evening was the most
thoroughly enjoyable and real rock and roll experience that I have ever had.
DREAM THEATER invited me down to the show earlier in the day and
after all the chatting and goofing around backstage was done I took my
seat and they took the stage to perform what can only be described as a
musical phenomena. The talent held within this group could easily propel
ten other bands on to stardom. Though spread quite thin in this huge
amphitheater, the audience was at least 3-4000 strong for the beginning of
DREAM THEATER's set. Many in attendance had come specifically to see this
group and were very vocal about the fact. More than one "DT"banner was
hoisted in salute and then used as cover when a sudden cloudburst filled the
air with rain.
Those who couldn't retreat under the pavilion's canopy played in the mud
as the band ran through 40 minutes of power-prog-rock that just couldn't
have sounded any better.
The obvious favorite was "Hold Me Under" but each song received
enthusiastic response. DREAM THEATER continued its practice of
incorporating hard rock standards into their own pieces by appropriating
METALLICA and PINK FLOYD riffs to create something that was so familiar,
exciting and completely DREAM THEATER. Incredible is far too tame a word.
EMERSON, LAKE and PALMER have probably never had a bad show and that streak
continues here. Opening with what is probably their most
recognizable tune, "Karn Evil 9", could have been quite risky but they
pulled it off brilliantly. A very heavy version of "Hoe Down" followed
and, probably, should get credit for driving away the last remnants of
the rain.
Keith Emerson did all that was humanly possible to entertain the
audience with both his music and showmanship. He brought out his
"synth-stick" and after a thorough thrashing used it to send showers of
sparks over the audience. And if the mountain of keyboard related
equipment wasn't enough, Emerson popped up from behind his Grande piano with
a harmonica which he deftly blew upon. The crowd, which had swelled to well
over 12,000, came dangerously close to full sensory overload and it was but
the second song in an hour and fifteen minute set!
The remainder of the set was simply more of the same.
Progressive rock staples such as "Lucky Man," "Time or Place" and the
KING CRIMSON chestnut, "Twentieth Century Schizoid Man" brought the house up
and knocked it right back down over and over again.
Like animals and children, this, was not an act to follow. That
is, unless you are at your complete creative and performing peak. As it
happens that is exactly the situation in the DEEP PURPLE camp.
Over the years DEEP PURPLE have created a combination of sound
and image that is the standard for all hard rockers. That standard
remains intact thirty years on with the current lineup adding
significantly to the legacy. The DEEP PURPLE machine hasn't rocked this
solid or this fluidly since the early seventies. Tonight's performance
served as the best evidence of this assertion. As the unmistakable funky
grind of "Hush" rolled across the amphitheater, 15,000 PURPLE fans rose from
their chairs to scream, shout and sing along. Smiles and air guitars were
everywhere, including the stage. Ian Gillan and his cohorts haven't looked
this happy to be doing what they do in a very long time. An obvious and
contagious feeling of joy permeated the atmosphere.
The updated version of "Blood Sucker"(Bludsucker") gave Gillan a
chance to stretch his voice a bit more and then to pound away on his
congas. The song was always very high energy but seemed to go straight
over the top with Steve Morse's guitar propulsion.
It was at this point that I noticed the group is apparently
experimenting with different stage setups. Roger Glover has moved to
stage right and Morse to the left while Ian Paice and Jon Lord have both
switched riser positions upstage. A bit of an unexpected twist that
longtime PURPLE fans (like me!) like to experience now and again.
"Strange Kind of Woman" came at the end of a beautiful Jon Lord
Keyboard intro and featured the band trading improvised solos back and
forth. Yet more evidence of the very relaxed and enjoyable atmosphere
within the group.
"Almost Human" from the latest record, "ABANDON," was flawless as
were the classic "Pictures of Home" and "Woman From Tokyo." Another
selection from the new record and a guitar lesson/solo from Steve Morse
and then what everyone expected to come last came next.
"Smoke on the Water" is the song that every aspiring guitar
player learns first. There has never been a riff so powerful, so basic
and so influential. Though he wasn't but a lad when the tune was
written, tonight Steve Morse owned the song and all of its majesty. Each
and every ticket buyer exploded and, as a group, was slightly less
audible than the group on stage.
Lord allowed everyone to catch their breath whilst he hammered
away at his Hammond organ. Weaving in and out of the chorus from "Smoke on
the Water" with near classical interpretations of other PURPLE chorus lines
and dropping in a hint or two of "Lazy" before starting into the song in
earnest. A Jon Lord solo is best enjoyed while sitting and this is what
most did but that wasn't to last long.
"Perfect Strangers" is an eighties era gem. While everyone else
invested in hair spray and stage props, the PURPLE people showed the
world just how far you can take a couple of chords and a whole lot of
feeling. The audience was well rested and returned to the air guitar
playing with complete abandon.
"Speed King" brought Gillan and Morse center stage to do a bit of
scatting and ended the set with a burst of sonic ambrosia. The band
bowed, said goodbye and left the stage, briefly.
Those who have the new record were very glad that "Any Fule Kno
That" made it into the encore. Such a great number was wisely left ‘till
the end for maximum exposure. Record sales should increase dramatically as
the song is played again and again on the radio but, its live version is
where it really takes full flight. Those who didn't seem very
familiar with the song grooved right along with everyone else.
There was a particularly annoying distraction from the song when
a fan jumped up on stage to bow before Paice's drum riser. The fan
eventually left the stage and was met by a bit of a pummeling by the
security forces present. Ian Gillan, nobelly, came to the patron's
rescue and returned to the song without missing a single line commenting
that "There's no need for that!"
"Highway Star" closed the doors on another evening of DEEP PURPLE
magic. A fitting end seeing as how in just a few moments all those who
had been rocked and rolled for the last four hours would now be heading
down I-75, ears still ringing with the most beautifully heavy sounds
known to man.
The fact that I have followed these groups with intense
interest for several years makes me a touch less than impartial but, I
still feel confident in saying that this was by far the best show of the
season and looks to hold that honor until the next time DEEP PURPLE rolls
into town. Rock and roll is still alive and well after all.
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