Deep Purple

The Innovator Award

2011-12-17T08:35:00.002+07:00

TheClassic Rock Roll of Honour ceremony that was held early November in Londonwill be shown on Sky Arts TV channel in the UK. The broadcast is scheduled onBoxing Day, December 26 at 1:00 pm with repeat on January 28 at 11:30 pm. DeepPurple have won the INNOVATOR AWARD with Gillan, Glover and Paice at the redcarpet to accept it.

Classic Rock’s own footage of the event

When Classic Rock Awards recently honoured Deep Purple with TheInnovator Award, Ian Gillan, Roger Glover and Ian Paice were there to acceptthe award.

Ian Paice read out this message from Jon Lord :

I very much wanted to be there this evening to stand with these finechaps – my musical companions of more than forty years and indeed my friendsfor a lifetime – but, although my progress is really good, I am finding thatthe treatment I am undergoing often leads me more towards a cup of cocoa and anearly night than to a bottle of red wine with it’s accompanying table-full ofwonderfully scurrilous gossipmongers and joke-tellers.

May I add my heartfelt thanks for this award and for recognizing thatwe did – when we were just five brave lads with no regard for boundaries butwith an abiding love of writing and playing music – was indeed innovative. Itwas also loud, down and dirty, subversive and dangerous, intricate and yetoften blindingly simple, very exciting to play and above all else it was astonishinglygood fun – and yes we did “dance and sing and stand on a mountaintop”. Didn’twe just.

My heartfelt thanks too to the gentlemen on the stage for being partof changing my life and for playing like heroes. Oh, and please don’t forgetwho first bullied them into playing with an orchestra !

I’ll see you down the road somewhere

God bless.

Jon Lord

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info : thehighwaystar.com and jonlord.org

Jon Lord Live in Bucharest DVD promo

2011-12-13T14:57:00.002+07:00

The DVD was filmed in Bucharest, Romania on November 5, 2009 and features the full second half of Jon's concert that night. It includes tracks from : Sarabande, Picture Within, Beyond The Notes - as well as three Deep Purple favourites rearranged by Jon Lord for full symphony orchestra.

Check out the taster clip

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Info : http://www.thehighwaystar.com

A Message from Jon "Doctor of Music" Lord

2011-09-09T00:02:00.000+07:00

I would like all my friends, followers, fans and fellow travelers to know that I am fighting cancer and will therefore be taking a break from performing while getting the treatment and cure.

I shall of course be continuing to write music – in my world it just has to be part of the therapy – and I fully expect to be back in good shape next year.

Just a quick line or two from an absolutely overwhelmed, gratified and humbled musician.

Your responses to the news of my condition have touched my heart in a way that has truly helped to make my life a better place to be than it had occasionally threatened to become these last few weeks.

Your wonderful messages wishing me strength and courage have given me even more strength and courage – and so much more than you can ever know.

I read many of them with tears in my eyes, grateful for this cast-iron proof of the innate goodness of the human being, and grateful to every single one of you for your invaluable support.

This message goes out too to all the similarly wonderful folk on other websites whose support has been equally warm and strong and I want you all to know how greatly heartened and comforted I am by all this.

The treatment continues and I am confident and being supported by my glorious family and an amazing group of friends.

See you soon.

God bless
Jon

August 9 & 30, 2011

Friday, July 15, Jon Lord was awarded a honorary Doctor of Music degree by his home town’s University of Leicester (A short clip of Jon Lord receiving and responding to the presentation of the Honorary Degree (Doctor of Music) from the University of Leicester, July 15, 2011)

WhoCares

2011-06-10T20:55:00.001+07:00

There is nothing in the world that can prepare you for an interview with Ian Gillan! The British singer can’t stop surprising you, even if the topic is WhoCares the fund raising project he is handling the vocals, while Tony Iommi, Jon Lord, Nicko McBrain and Jason Newsted fill the rest of the spots. Our talk went beyond the music, and ended up in a rather impressive, and up to date approach about the political situation in Greece, for which the singer seemed completely informed.

Rockpages.gr: Rebuilding the music school in Armenia, could this be a symbolic act? Can we rebuild and undo all the bad and unpleasant thing in society and make humanity more human? And can music help us do that?

Ian Gilan: Well, in different ways the answer is “yes, it is symbolic”. In this case it’s related to a particular event, but you’ve made a very good point. Music is part of that culture it takes not only the folklore and the history of the past, but it also takes the words and the attitude of its generation together and joins them together, so you have continuity. In this particular case, when I was there 20 years ago, it was just one year or so, after an earthquake that killed 25,000 people, and a quarter of a million people were homeless. This was on the days of the Soviet Union, and so it wasn’t highly reported outside the “Iron curtain”. I was there a year after the event, and I was talking to the major of Spitak, which was the epicenter of the earthquake, and he said that even then, one year later, there is no music there. (he sighs)There is no rituals, no music in the schools, or the radio… even the birds are not singing. So, it was a shock that went through the entire area. So, I said at the time “if you are ready for music to start again, maybe we can give you something”. And I went back again, and we were talking about the same thing, and there was one quotation that was remembered, when I was talking with the President, and the prime minister, both of them rock fans from way back. They are beginning now to start again, since a whole generation has passed they thought that they could start the music, so the music school seems a great symbol, so it’s symbolic on the literal sense, yes absolutely! If we could find a three quarters of a million dollars… we got a lot of money. We had donations in cash, the Armenian architectures that made all the drawings didn’t ask for money, we had builders, and material suppliers who worked and gave their products for free, we had people in Canada, and London supplying the musical instruments, and equipment, so we are doing very well, and hopefully we can get passed the finishing line with this record, if we give it enough promotion and it sells a lot of copies… it is very important.

But, if I get back to the beginning of my experiences music crossed the borders into the Soviet Union, back in the ‘60s, when the “Cold War” was at its peak. People often ask about this, and I always say that the back door was always open. The “front door” was shut, because everybody were taunting each other with nuclear weapons, but the back door was always open. You could see the Bolshoi ballet, Red Star football team, the Ukraine gymnastics team, or whatever, there were always cultural exchanges. So, music, and culture are very important to understand each other. Of course it’s not belligerence, so generally speaking, and therefore very important. Good question!

Rockpages.gr: Working with Tony Iommi, and Jon Lord must have brought you some memories. Would you say that there is a chance to work with them again in a musical project?

Ian Gillan: Well, Tony certainly! Tony and I are old friends! We did this because… well, there was a certain amount of selfishness as well… when we were kids we have to play football with George Best, and people like for charity matches, and we raised lots of money and had lots of fun at the same time, so that was the way of doing it. With Tony, we spent some time writing the song, recording , arranging etc, on the last minute, before they recorded some friends of ours, Jon, Linde (Lindstrom), Jason (Newsted) etc, etc to play on the record, perform on it, and add their personality on the sound. And, we decided to call this “WhoCares”, ad hoc band which means that it’s just me and Tony, and whoever else is available. But, the last time I saw Tony, we had a few drinks and we decided that it would be fantastic to get together and do some more writing, so maybe there will be an album, maybe there will be me and Tony, maybe we’ll find some other projects, I don’t know… at the moment he is very busy, and I am on the road until next March, so far. So, we shall see when we got a gap, it should be fun! Tony and I don’t take long to write songs, it would be quite a productive session if we got together again… we will see, we will see…

Rockpages.gr: On the cd there is also another track, “Holy Water”. Can you tell us a few things about that?

Ian Gillan: Well, I wrote “Holy Water” as a part of another project I was doing with my record company. I’ve got about 30 songs in various stages of development at the moment, and this is one of the songs that was going to be on my first single, which was going to have two, or three songs on it. When I realized that the WhoCares project was coming up, Tony and I had just one song. We only had time to write one song, so I thought it would be better for the project I we had two songs, so I got Tony to play on this one as well. We also had a duduk player from Armenia on the introduction, it’s a blues and I thought that it’s quite emphatic with the mood of the project. So, we put that on as a donation as well. So, you get two songs for the price of one… not really!

Rockpages.gr: You performed in front of the crowd in Armenia, both just after the earthquake in 1990, as well as now, 20 years later. What was the reaction you got, now, and twenty years ago?

Ian Gillan: Well, times are different, people behave differently. Everyone thinks that in ‘69 and the ‘70s the crowd used to go crazy… well the didn’t actually, they were very quite! They used to applaud politely, and clap, and dance, and whatever… it wasn’t the complete mayhem that it is today. When I was in Armenia I played four nights at the Sports Hall in Yeodrum with the Gillan band and I was there with Deep Purple, we played the same venue. And, the audience, generally speaking on the Deep Purple gig was 18year old kids, so that was very strange… an entirely different generation enjoying the music. And should I say different generation? Yeah, they behaved differently…
Rockpages.gr: What about the rest of the band? Nicko McBrain for Iron Maiden, and Jason Newsted, an ex-Metallica member. How did these guys hooked up with you?

Ian Gillan: Well, you know when Tony and I finished writing the song, we had a recording of my voice and his guitar, and some drum machine. And we thought that we’d better get some real guys for this, so we called some friends. I called Jon Lord, and send an e-mail to Nicko, Tony called Jason and Linde (Lindstrom) and that was it! Nick was on his way back from Florida, Jon was on his way back from Hungary, were he was playing the concert there, and so the timing was perfect, they were available for the day, and they were available a week later for the press launch in London. It just worked out perfectly. You know, I don’t think of them as being famous musicians, I just thought them as being my friends…

Rockpages.gr: Well, you know they are famous too!

Ian Gillan: You don’t think about that…

Rockpages.gr: Maybe if you are Ian Gillan you don’t!

Ian Gillan: We just wanted to get some good guys playing on it, you know…

Rockpages.gr: Was there any chance, in any way that Ritchie Blackmore could get involved with that, like he did last time?

Ian Gillan: No, he wasn’t!

Rockpages.gr: I mean for “Smoke On The Water”…

Ian Gillan: He was on the video, but he was not involved! When that video was made everybody was in the studio at the same time having fantastic time. There was great camaraderie, great fun… we all had a drink together afterwards, and it was just fantastic. The atmosphere over two days- I thought it was two days- was incredible. Ritchie refused to see anybody, he came in at the studio all by himself, there was nobody there. We didn’t see him come, we didn’t see him go! They just had the cameraman there, and the recording engineer, and the guy that showed him around. So… involved he was not… as always!

Rockpages.gr: A Deep Purple question now… on your recent shows in Greece you had Nick Fyffe replacing Roger Glover. From what I can remember from Deep Purple’s history, replacing a member like that is something extremely rare for the band. How did it feel with Nick playing with you guys?

Ian Gillan: Ahh, great! It was an emergency! Roger was having a baby! What can you do? We had to get Nick in because the baby was late. It’s not the same of course, but Nick is fine he is a great player and did the job really really well!

Rockpages.gr: Unfortunately, it’s not possible every time there is a need for help that musicians, actors, athletes, and other celebrities can gather round and help by organizing benefits and all that. What can we do to motivate more people in everyday life?

Ian Gillan: Well, that’s a good question… I think our lives have been taken over by the state. I don’t know about Greece, but probably it’s the same as the UK, where the Government wants to do everything. I’ll tell you another problem that we have, our life used to be very simple before we joined the EU… very simple indeed… we lived for hundreds and hundreds of years under a system of law and order. Very simple! And now we live under a system of rules and regulations, and it’s very different. Because, these people would know democratic authority, not stupid regulations to control every element of our lives, and they are enforced by the power mad idiots in the town halls, not the top people, but small town politicians who love a bit of power. And, it’s changed our lives slowly but surely. We’ve become automated, and we have no… you can’t do anything in England. I could give a hundred examples… for example if you want to have a charity garden fair for example, sell some stuff for charity, you want to have a barbeque and invite you neighbors, if you want to have a folk dance, a street party, you can’t do it! You have to pay for an insurance, that they’ve made sure that nobody can afford it. You can’t have fun anymore, you can’t do things spontaneously! And so, people just… they can’t invite their friends, and they have to pay fees so that some others can make a few pennies, or Euros, or… drachmas! Remember these? Hahaha! What they want to do is just control the lawn lines but that’s not possible in recent history. So, we are finding it difficult in this world… musicians have regulations that you won’t believe! But, I don’t think that you’d want me to start on that, because it’s destructed enforcement that changed our lives, and I am extremely angry… maybe we should have a rebellion! A European Spring… A European Autumn… how about that?

Rockpages.gr: There is a lot of talks about that and maybe we’d see one in Greece, as things are not going well at the moment, actually they are going pretty bad!

Ian Gillan: It was an unfortunate entry into the EU! You were cursed into joining the EU! Greece didn’t meet any of the financial requirements; it was a ridiculous situation, forcing you into the allegations, absolutely outrageous! It was illegal! I was researching that last week, and everyone admitted it after the event, even the Greek Prime Minister, he said “Yeah, we didn’t meet the requirements”, it is outrageous! And every democratic vote in Europe, around acts like the Maastricht treaty, and also the… treaty nobody wanted it but they were forced. The Irish were sent back again! They voted “No”… “Oh, I accepted it”, go back and vote yes! It’s not democratic, it’s corrupt and in my view it’s unworkable...

Rockpages.gr: And unfortunately we are prisoners of useless politicians…

Ian Gillan: Absolutely, it is not democratic and it’s corrupt… we can’t go backwards, so let’s go forward and I’d support anything that would tear these things to shreds and rebuild it!

Rockpages.gr: Well, then maybe you should lead a “musical revolution” over here in Greece and bring the WhoCares guys with you…

Ian Gillan: Maybe I will! Most of the stuff that I wrote in an album called “Bananas” was very political, very much about this sort of things, so maybe then I should have gone spiritual, and I should re-address that…

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info --> Rockpages (http://www.rockpages.gr/detailspage.aspx?id=5707&type=1&lang=EN)

Interview : Yiannis Dolas

Jon Lord plans studio recording of Concerto for Group and Orchestra

2011-05-25T12:00:00.000+07:00

photo : Kasia Łaska

Jon Lord is working on the definitive studio recording of Concerto for Group and Orchestra, originally composed and first performed in 1969. The Concerto was recorded live at the Royal Albert Hall in 1969 (album release shown here) and again in 1999, but has never been recorded in a studio environment.

The Royal Liverpool Philharmonic Orchestra and conductor Paul Mann are confirmed for the new recording which will be completed later this year.

Updating the score

Jon has had plenty of opportunities to listen to and adjust the Concerto score.

- Over these last years since leaving Deep Purple, I’ve played it over 30 times with different orchestras and conductors all over the world, and, of course, in 2000 I did it well over 30 times with Purple on the Concerto Tour, so I’ve been honing the piece live on stage, and I’ve had the opportunity to change things in the score that weren’t sounding quite right. It is therefore a marvellous and exciting prospect to have the definitive recording of the definitive version of the score.

Liverpool Philharmonic and Paul Mann

- I’m thrilled to have the Royal Liverpool Philharmonic on board. I have immensely enjoyed working with them on several occasions since recording Durham Concerto with them in 2007. They are a wonderful group of players, and with Paul Mann conducting – a dear friend and a man who knows the score inside out – there couldn’t be a better conductor and orchestra for this studio recording of the Concerto, says Jon.

Contrary to ill-informed rumours on other websites, no other Deep Purple members – current or former – are involved in the recording.

The musicians who are involved will be announced in due course.

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info : Jon Lord's official website

43 years of Deep Purple !

2011-04-30T10:48:00.001+07:00

since 1984 until today ... Deep Purple is a second wife to me ... 99% (hobby) of music I'm very influenced by Deep Purple ...

Anyone who entered in the personnel of Deep Purple ... always offers the most stunning music harmonization and in every formation in the body of Deep Purple is always giving the music a unique color ... of Progressive Rock, Classical, Hard (Heavy) Rock, Blues-Rock to Jazz elements.

The first time I heard Deep Purple's music is at my school in 1984 held a class meeting (SMPN 2 Tanjungkarang) set the song 'Child In Time' ... for some reason, I was fascinated with the character of a high-pitched vocals on the song and the music is the harmonization of all ... I also asked my friend the name of the band on the song and he replied ... Deep Purple!

Back home ... I ask a favor to my uncle to buy the album from Deep Purple (with hopes to get the song Child In Time is) ... but my Uncle bought the album Perfect Strangers, which at that time Deep Purple do a reunion in 1984 with a sweet cover DP symbol.

The first song sounded .... Knocking At Your Back Door ... and continued with the song Perfect Strangers, forcing me to pledge to vote Deep Purple as my music lover ...

The personnel of Deep Purple is a great human being with their own expertise ...

Ian Gillan is a highly charismatic figure with a wail (octave) sounds amazing, and now (although age was dusk) still shows the charm of power that was never cracked by age ... in 2000, I always told my wife to (each getting out of bed) look at pictures of Ian Gillan ... and it turns out my girl was born !

Ritchie Blackmore is a mysterious figure and the (admittedly) many famous musicians such as orbit: Ronnie James Dio, Cozy Powell, David Coverdale, Glenn Hughes, Joe Lynn Turner to Doogie White... the melody is very spectacular game ...

Jon Lord (of Hammond), Roger Glover, Ian Paice, Steve Morse, Don Airey, David Coverdale, Glenn Hughes, Tommy Bolin, Joe Lynn Turner, Nick Simper and Rod Evans ... they all are great people.

- Irdon 'Abdurrahman' Syahli Harahap -

The Songs That Built Rock Tour

2011-04-29T14:47:00.001+07:00

Alongside with the band, it will feature a 38-piece Orchestra. It's the first time Deep Purple will tour North America in four years. The tour already became a top-story of the news and is predicted to be a huge success, as it's planned to take place at the world's largest arenas, such as the legendary O2 Arena in London and Arena di Verona in Verona, Italy, with several theater shows already confirmed. The official management's press-release says the show will include Deep Purple's biggest hits, such as Smoke on the Water, Highway Star, Woman from Tokyo etc, covering the 42 years history of the band.

Official tour banner

Tour

The first few European dates of the Orchestral tour was announced in January, 2011, including shows in Germany and the legendary Arena di Verona, Italy. It was billed as just "Orchestral Tour.
Billed as "Deep Purple : The Songs That Built Rock" - tour was officially announced in the end of February, 2011, with North American dates being first, followed by European ones. North American tour also includes three show in Canada and three shows in the New York area. (New York area concerts combines 20,000 tickets for sale)
At the beginning of the April, Jacky Paice, the wife of Deep Purple's drummer Ian Paice announced the 2011 edition of The Sunflower Jam, the annual charity event hosted by the famous actor Jeremy Irons. This year's edition includes Deep Purple appearing at the London's Royal Albert Hall among one of the biggest names in the history of rock, such as Jon Lord, Rick Wakeman, keith Emerson, Joe Bonamassa, Neuton Faulkner and members of the rock band Thunder. (with more big names to be confirmed, as promised).
April 12 saw the band proudly announcing four UK arena dates, including their first ever show at Londons O2 Arena.

Ticket Sales

According to the Ticketmaster, on 16 April Deep Purple reached #2 in the list of week's biggest ticket seller artists in the UK. (Download Festival being #1). The band sold nearly 70,000 tickets in two days. The fourth day of ticket sales saw them as the #1 bestseller artists of the week in the UK.

Tour Dates

North America

June 3 Casino Rama, Orillia, ON, Canada
June 4 Agora, Quebec City, QC, Canada
June 6 Place Des Arts, Montréal, QC, Canada
June 7 Wang Centre, Boston, MA, USA
June 8 Mortensen Hall at The Bushnell, Hartford, CT, USA
June 10 PNC Bank Arts Centre, Holmdel, NJ, USA
June 11 Tropicana, Atlantic City, NJ, USA
June 12 Bethel Woods Center for the Arts, Bethel, NY, USA
June 14 Beacon Theatre, New York, USA
June 15 Beacon Theatre, New York, USA
June 17 Fox Theatre, Detroit, MI, USA
June 18 Ravinia, Highland Park, IL, USA
June 19 Orpheum, Minneapolis, MN, USA
June 23 Palms Casino, Las Vegas, NV, USA
June 24 Greek Theatre, Los Angeles, CA, USA
June 25 Concord Pavillion, Concord, CA, USA

Europe (Summer leg)

July 8 Sunflower Jam, Royal Albert Hall, London, England, without orchestra
July 15 Nordmole am Zollhafen, Mainz, Germany
July 16 Jazz Festival, Stravinski Hall , Montreux, Switzerland
July 18 Arena, Verona, Italy
July 20 Amphitheatre, Gelsenkirchen, Germany (Open Air)
July 22 Schlosspark, Künzelsau, Germany (Open Air)
July 23 Elbufer, Dresden, Germany (Open Air)
July 27 Theatre Antique, Vienne, France, with The Neue Philharmonie Frankfurt Orchestra
July 29 Suikerock, Tienen, Belgium, with The Neue Philharmonie Frankfurt Orchestra

United Kingdom

November 26 SECC, Glasgow, Scotland
November 27 LG Arena, Birmingham, England
November 29 MEN Arena, Manchenster, England
November 30 O2 Arena, London, England

Europe (Winter leg)

December 2 GelreDome XS, Arnhem, Holland
December 7 Hartwell Arena, Helsinki, Finland
December 9 Hovet, Stockholm, Sweden
December 10 Scandinavium, Gothenburg, Sweden
December 13 Oslo Spektrum, Oslo, Norway
December 15 Forum Horsens, Horsens, Denmark

Deep Purple

Ian Gillan (voc), Roger Glover (bass), Ian Paice (dr), Steve Morse (gtr), Don Airey (kbd)

The 38-piece Orchestra

The Sunflower Superjam 2011 line up includes Jon Lord, Rick Wakeman, Keith Emerson, Joe Bonamassa, Newton Faulkner, alongside with Deep Purple

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info :
www.thehighwaystar.com
www.deep-purple.com
www.deep-purple.net
www.ticketmaster.co.uk

www.wikipedia.com

Steve Morse of Deep Purple on The Songs That Built Rock tour

2011-04-20T13:05:00.001+07:00

Throughout their career, Deep Purple – who formed in England in 1968 and released their debut album that year – have sold over 100 million albums worldwide; their iconic rock hits include "Smoke on the Water," "Highway Star" and "Woman from Tokyo." After a four-year hiatus from American shores, the band’s upcoming tour, called Deep Purple: The Songs That Built Rock, finds them returning with a symphony orchestra.

In this exclusive interview with Steve Morse, the group’s guitarist since 1994, about the tour, which kicks off in Boston on June 7 and carries on to New York, L.A., and everywhere in between.

So Deep Purple is touring with a symphony orchestra?

Yeah. It’s not exactly like the symphonic tour that we did where we’re actually playing symphonic music that Don [Airey, Deep Purple keyboardist] had written and some Deep Purple songs. We’re going to play our set, basically, and have accompaniment on some songs, sort of like if you imagine some of the old Motown songs where they added strings and horns to a song to spice it up. And that’s the approach [the band] want[s] to take on this tour. So we’re arranging things as we speak.

Where did this idea come from?

I’m not exactly sure, because like many people, there’s probably a misunderstanding about what we’re doing, thinking that it’s going to be an orchestral version of the band. I sort of felt that, too [originally] ... When we played the Olympia in Paris [in 1996], we had guest musicians from France that were really good, and did what they were doing. So we had a horn section, a guest soloist and backup singers, and everyone liked it because it was something different. One of the things we’re trying to do is give people a reason to come out, and play some nicer places. It also gives us an in to nicer halls that wouldn’t allow a, quote, “rock and roll show.” If you have a bunch of people carrying a violin cases, I guess it opens the door, you know? (Laughs)

Is this going to be similar to the shows that Metallica did with the San Francisco Symphony Orchestra?

I don’t know exactly how they did it. We’re trying to keep the energy up and not change to fit the orchestra, which is different from [the late ’60s] when [original Deep Purple keyboardist] Jon [Lord] wrote that orchestral piece, and we recreated it in the ’90s with Jon Lord, going around with a symphony orchestra. That was the kind of thing we’re doing now. It’s us doing our thing, and then some arrangements with horns and strings. I don’t know what you’d call it, but it sort of ended up that way. It’s like what we did in London [at the Royal Albert Hall in 1999], but with American musicians and more orchestral players.

Do you guys still keep in touch with Jon Lord on creative contributions, particularly with this upcoming tour?

Well, he’s welcome to come anytime. We love when he does, because he always sits in and plays a little bit. He doesn’t say, you guys should do this or that, because he knows the people in the band too well (laughs). We love seeing him, and I think when we play Albert Hall [in July] we’ll be seeing each other over there.

Will you be playing with different orchestras in each city?

I’ve heard that they’re going to be original.

Are there any other new surprises that you have in store, like resurrecting old songs?

Probably so. There’s some of them that we haven’t done in the States, some of them that will just go over really well live, will be resurrected and, of course, we’ve got a whole bunch of new material. Whether or not we can pull that out for the tour depends on how fast the record can get done.

How’s it going so far with the new album?

The material’s sounding really good, actually. We’re giving a little time to [Deep Purple vocalist] Ian Gillan to get caught up on his lyrics and stuff, rocking out.

What’s it like being the only Yank in the band?

It’s actually more disorienting than you’d think. On one level, I totally feel at home with everybody and all the English expressions and even the Cockney rhyming slang to some extent. But when they start talking about things that interest them, it pretty much goes into different things than I would talk about with my friends, you know? Like for instance, soccer. Soccer is a big deal to Brits, and that’s pretty much — if you’re not up on the different soccer teams in the league and thePremiership, and especially the World Cup chances of every team, then you’ve got nothing to talk about (laughs). I’m sort of from another planet in that sense, but onstage is the most important thing, and we all communicate very effortlessly, and everything’s fine.

But it’s a little bit weird, just culturally, you know? They can make a joke about somebody that’s in the news, and somebody in Britain that’s in the news, and they can and bring up somebody else’s name in the news [from] 25 years ago, and they all laugh and get it. And of course, I have no idea what they’re talking about, because I just don’t have the history that they do. And the same with me: I can make a joke to them that would actually be funny to an American, and they just totally don’t get it at all.

You’ve been with the group for a while now. Is there any kind of cultural influence that they’ve had on you, or vice versa?

Yeah, they’ve taught me a lot. It’s really taught me a lot about how Europeans live, how they see America, how they see the world, and how different it is: the little village concept versus our big city [view] … and you see where they’re coming from. But I remain the staunch pro-American (laughs). So every time we have a political discussion, it gets ugly fast. I jump right in there (laughs) if they even start to think of them.

The important thing is, the band, politically, has no politics. We were just talking to the president of Russia, and that was one of the points that we were talking about, was how Gillan said how different everybody is for politics, and if he has a political thing he ever wants to say, he has to hide it in double entendre in his lyrics. And I said, the good thing is the band is not political, which is how we can play Lebanon one week and Israel the next. We’re playing to people that want to hear music, and I think that’s shaped me more than anything. The experience of being in the band has definitely shaped me more than guys telling me what I should think, which hasn’t done a whole lot (laughs) in my case …

The experience of traveling is something everybody should do. It’s so enlightening to see people from all over the world with the same wants, needs, concerns, and frailties. Government's different and customs differ, but people, basically, are the same. And that’s the thing we’ve seen more often than not: It’s the similarities, not the differences.

Regarding the recent catastrophe in Japan, is the band planning to do any special shows or benefits at this point?

No, we haven’t gotten anything that we’re privy to at the moment. I think the thing in Japan is, they sort of differ from a Third World country that just totally doesn’t know what to do. The people of Japan are so incredibly organized and capable, I don’t know how anybody can help them that isn’t right there. They need all kinds of support. The logistics of getting what they need to them is obviously the problem — it’s not being able to afford it, as far as what I’ve seen. And don’t forget that at this time I’ve got a limited view, because I’m working all the time [Morse was touring with the band in Eastern Europe during this interview], and I can’t just turn on the TV and get anything set to a certain very narrow international news station.

So from my point of view, it looks like they need more logistical support than moral support to raise more money for food or anything. I could be wrong, but it looks like they’ve got that part covered, and the government is willing to do whatever it takes to get the people back on their feet and working again. But they’re handling some really amazing problems right now, and one last thing that I get from that is how incredibly dignified they are in such a time of stress.

Of course Deep Purple has a long relationship with Japan and its people, making live albums recorded there something special long before bands like Cheap Trick came along. What’s it like when you go over there as a member of the group?

Deep Purple has very old acquaintances, like promoter Mr. Udo, and everybody knows people there, so it’s a friendly, familiar place. And like I said, it’s so organized and dignified, it’s just wonderful. It’s wonderful to see a guy driving a cab that’s spotless, with white gloves on, and that’s any cab you get into.

The trains, they come exactly on time, they leave exactly on time, and they go really fast. So a lot of times we just ride the trains, because it’s the best way to go. And when you’ve got mass transit that’s that organized, even in an earthquake zone, it’s still the way to go. It beats traffic, you know? And whenever we get mass transit that’s that organized and that cool and that fast and that reliable, I think then America could really cut down on one person per Suburban, you know? (Laughs.)

Deep Purple plays a lot of countries around the world. Are there any places that you look most forward to playing to year after year?

Every country has its charms, you know? I’m a private pilot — I have been for most of my life — so I go places where I can’t fly. A lot of times, in South Africa, there’s people that will get me hooked up to flying, or in Australia. A friend in Israel is going to hook me up, too. And in Greece I did some flying there. So of course I like those kinds of places. In Norway, too — I went flying on a nice summer day. For me, that’s most interesting.

Is there any place that you haven’t played yet that you’re looking forward to?

Oh, yeah. I’d like to see — and this is not a joke — Antarctica. Because I’m fascinated with technology and how people cope with things. Since I’m a member of Deep Purple, and have played outside in the snow on top of a mountain, in a desert (laughs) and in a monsoon in Korea, I think, outside, getting drenched, it seems like if we can play anywhere, we might as well go to the most extreme gig possible, and that would be Antarctica. Maybe even the North Pole, I don’t know. But there’s some parts of Africa that we haven’t been to, and that would be interesting, especially if they were able to accommodate all the power and logistics for the band. The adventure never stops.

Out of curiosity, why does Ian Gillan perform barefoot?

It’s hard to say. It could have been just a manager. Like maybe one time he came out and his feet were hurting and he came out with bare feet and the manager says, “What are you doing going out in bare feet?” That guarantees that for the next X number of years, he’s only going to go out in bare feet, just to prove a point that he doesn’t take advice from anybody. I think he’s just more comfortable doing that; he’s a very visceral person.

Do you know how long he’s been doing that for?

No. But I can tell you, when we played Live 8 in Toronto, it was summertime. The stage was black plastic — dark gray, but it acts like black in the sun. It was the end of the afternoon, and we were going on right before Mötley Crüe. You don’t get a chance to check things out; they just switch bands and then — bam! — you’re on. So we just kind of ran out, and we started “Highway Star” right away. And I looked over and Ian was walking out, and all of a sudden he started dancing. And I thought, “That’s weird.” Then he just dances offstage. Then he comes back onstage with his shoes on, and he’s not dancing (laughs). [He] was being burnt from the stage; that cured it.

Any other messages about the tour?

If anybody hasn’t seen the band, we don’t get to the U.S. very often, so I would suggest this is the time. And the band is a live group; It’s all about the energy vibe. We have one of the best keyboard players in the world [Don Airey], and just a fantastic rhythm section. You know, the icons of rock and roll. So check it out if you’re ever kicking yourself for not seeing the classic artists when they come around. Deep Purple doesn’t hit the States very often.

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info : examiner.com.

WHOCARES : IAN GILLAN, TONY IOMMI & FRIENDS

2011-04-06T12:22:00.000+07:00

Hamburg based earMUSIC, the international pop rock label of entertainment Group Edel, is proud to announce the release of the debut CD single by WhoCares on May 6th 2011. ll rock fans surfing the internet are already aware of the many rumours and semi-official news about this music project -one that simply seemed "too exciting to be true".

What hides behind this new band name is in fact the renewed musical union between legendary Deep Purple singer Ian Gillan, with none other than Black Sabbath's Tony Iommi : the undisputed master of heavy guitar riffs.

The duo has recorded two brand new songs with the intent to support the rebuilding of a music school in Gyumri, Armenia. Both Gillan and Iommi have spent a lot of time in Armenia, fallen in love with the country and the people and have dedicated a lot of work to a nation still shocked after the earthquake that struck Armenia on December 7, 1988 at 11:41am.

The collaboration of Gillan and Iommi, who have worked together before on the Sabbath album "Born Again", is in itself an incredible news for all rock and metal fans and will be the best of surprises to get to know who is completing the band :

None other than Jon Lord on keyboard ("Mr. Hammond", partner with Gillan on all the Deep Purple classics), Iron Maiden drummer Nicko McBrain, legendary bass player Jason Newsted and guitar playerLinde Lindström are also featured on the two new songs.

There is no doubt that this is the biggest ever super-band to release new material in 2011. WhoCares will release the 2 new songs on digital download and limited edition CD single on May 6th 2011: "Out of My Mind" (and epic hard rock classic, destined to remain in time as a hard rock milestone) and "Holy Water". The CD single will also contain the video clip of "Out Of My Mind" and a 40-minute documentary that shows Gillan's and Iommi's involvement with the Armenia cause over the years.

Ian Gillan said : "The idea came as Tony and I flew back from Yerevan together after being inspired by the enthusiasm of everyone there to get this thing done. It was brilliant working with Tony again after all these years; he makes life easy for a singer. The other guys need no introduction do they…"

Tony Iommi added : ""Some twenty years ago when the call came, I thought, well at least I've helped, but it was going to Armenia and seeing the actual devastation caused by the earthquake that really made me realise that funds were still needed. Despite all the money that was raised last time, here was a music school doing their best, forgotten, in basic tin sheds. After the warmth and honour bestowed upon us during our visit, we just had to help make a difference and get the school re-built. And what better way than to hook up with some of rock's greatest players and my old mate Ian, both an honour and a pleasure. "

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info --> http://www.gillan.com/ and http://www.thehighwaystar.com/news/2011/04/06/whocares-release-details/

Dmitry Medvedev met with Deep Purple

2011-03-24T21:47:00.001+07:00

Legendary British rock band Deep Purple, which concert will be held on Wednesday at the scene of the Olympic Sports Complex in Moscow, visited the night before visiting Russian President Dmitry Medvedev.
Group Deep Purple, playing in the genre of hard rock, was formed in 1968 under the name of Roundabout. In April the same year the band changed their name to the now famous phrase.
The Russian head of state - a dedicated fan of Deep Purple - invited the musicians on Tuesday evening at his residence in Gorki. Rockers have remained true to his style and came to the president in jeans, T-shirts and hoodies, but lead singer Ian Gillan put on a jacket.
In anticipation of Medvedev, who at that time met with Defense Secretary Robert Gates, the musicians looked at installed in a room audio equipment, including a few rare instances of tape recorders.

Entering the room, the Russian president, before greeting the guests, including at full volume a short fragment of recording one of the songs Deep Purple to roll tape. The musicians greeted with applause chords, and the permanent drummer Ian Paice Medvedev handed his drumsticks.

The Russian head of state invited the musicians to have tea with cakes, but apparently, catching sight of one of the musicians who promised that "when all (journalists) are gone, bring something else."

He said he had conducted at the school disco, which always put writing rock band. Medvedev admitted that the past 33 years listening to music Deep Purple. "When I started listening to Deep Purple, of course, could not have imagined that I would be here so you sit at this table," - said the president.

"It was an unusual disco as shaping her music was hard rock. I brought for the approval of the Komsomol committee a list of musicians who will be played at the disco" - said Medvedev.

The President thanked the participants for their creativity. "You are planting this musical culture, helping young people understand what rock music," - said Medvedev.

He assured the musicians, that in Russia Deep Purple "cohort of the most loyal fans, which is preserved from the time of the Iron Curtain.

In response, the lead singer Ian Gillan joked that when he was young, he thought, "that the police and the presidency - these are old people." "But that's changed," - a compliment to President Gillan.

Medvedev noted that the ranks of fans of Deep Purple in Russia "is not only elderly people like politicians and presidents." "I'll introduce you to one young man who is much younger than me, but also in love with your creativity, and even trying something play softly" - promised the president.

As the press-secretary of state Natalia Timakova, this time Medvedev will not go to Deep Purple concert in the "Olympic".

During a meeting with President musicians gladly recalled four concerts of rock bands, which he visited.

"Every time getting a great pleasure. I hope that this concert will be a very powerful," - said the president. Musicians assured him that it will.

Next, the conversation continued without the press and the interpreter, Medvedev moved into English.

Group Deep Purple has repeatedly visited the concerts to Russia, where she has many fans, including President Dmitry Medvedev. In February 2008, when the current head of state held the post of first deputy prime minister, to celebrate the 15 th anniversary of Gazprom in the Kremlin, he photographed the musicians who participated in the concert.

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info : thehighwaystar.com and RIA Novosti for the info and to Presidential Press and Information Service for the pictures.

Fire In The Sky

2011-03-17T08:10:00.001+07:00

Smoke On The Water, a rock song so ubiquitous that even people whose knowledge of ‘heavy metal’ music would fit onto the back of a packet of acoustic guitar strings can find themselves humming the riff.

These days Deep Purple’s best know composition is such a well-known rock ‘anthem’ that it almost seems as if it has been out there forever. Yet the story of how this most famous of metal tracks came into being is shot-through with chance events, any one of which could have seen the recording stifled at birth, leaving the hard rock music scene scrabbling about for another ‘best riff of all time” contender (and five hard-working musicians considerably less well-off).

Incredibly, while the song’s backing track was the first music laid down for the legendary Machine Head album, in the ensuing chaos of being evicted from their temporary studio and washing up in the corridors of the Grand Hotel, the tape was almost forgotten – until an engineer pointed out that they were indeed one track short of an album… Even after the legendary Geneva session was finished, Smoke On The Water might never have been played live at all were it not for a request from the BBC for a radio session.

And then the band’s American label decided to try a third time to get a single from the album away. The London office sent them an edit of Smoke On The Water and wondered if it might do the trick. It went on to sell 12 million copies.

This forthcoming book charts the events which led to the group to record the song in an empty Montreux hotel corridor in the winter of 1971, and follows the song through the different incarnations of the band and the solo groups which emerged from the wreckage of Deep Purple in 1976. New facts are uncovered and some myths laid to rest, while the writing takes us off on any number of interesting diversions, aided by the author’s close involvement in the band’s archive reissue programme over the last twenty years.

So expect a sideways look at the British Truck industry as we ponder the sad demise of the Rolling Stones Mobile Studio; marvel at early format wars (Smoke On The water in Quadraphonic anyone?); botched album sleeves; backstage rows over whether to play the song for an encore or not; pantomime horses; impossibly rare singles; religious finger puppets and orchestral cover versions: Smoke On The Water is the thread which links them all. And in these times of economic hardship, isn’t it inspiring to know that punitive tax rates were responsible for the band being exiled to Montreux in the first place ?

UPDATE November 2010 • Deep Purple’s recording session in Montreux was organised by the founder of the annual Jazz Festival, Claude Nobs. Claude – who is name checked in the lyrics to the song – has agreed to answer questions for the book to add eye-witness details about the events. The book in now scheduled for 2011 as part of celebrations to mark the 40th anniversary of the recording.

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info --> easyontheeyebooks

Jon Lord : A Technique That Was Central To The Band's Success In The 1970s and Beyond.

2011-03-03T11:59:00.000+07:00

Deep Purple keyboard legend Jon Lord made a visit to Paisley to speak to students at the University of the West of Scotland.

He was appearing as a guest lecturer on the subject of improvisation, a technique that was central to the band's success in the 1970s and beyond.

Before talking to the students and taking questions, he spoke with STV's John Kilbride, who asked him how important this was to the band. (http://bcove.me/mlbnvb3h)

Jon Lord said : "It was the rock on which we built our house, the give and take in the moment of musicians of equal calibre, on stage in front of an audience with the given that you are entertaining, you are not navel gazing, but doing something interesting to the audience but at the same time composing something in the moment. It is one of the most daunting yet massively enjoyable processes I can think of."

"And it was very much part of late 60s and early 70s rock, it wasn't exclusive to Deep Purple."

As to whether this is something that is lacking from many modern acts, he said: "I think it's still bubbling under, I think it's less part of modern popular music, it's very much more structured now in some cases that is an improvement, a move for the better, but in some cases I think it's lost some of that dancing on the edge of a precipice feel that a really good concert can sometimes have."

Deep Purple is widely thought of as one of the greatest rock bands of the 1970s, and enjoyed huge international success. Their albums In Rock, Machine Head and Made in Japan are amongst the biggest-selling rock albums ever, and remain a considerable influence on the genre.

Between periods with Deep Purple Jon Lord was a member of Whitesnake, another seminal rock band that continues to enjoy international success

Asked which musicians he found inspiring to work with, he said: "Ritchie Blackmore is a piece of work, an astounding musician, a law unto himself and very challenging to work with.

"I learned a lot from him and hopefully he learned something from me to. Perhaps he learned from me that there is such a thing as patience."

"I became friendly with and worked with George Harrison, he was known as the Quiet Beatle, and I learned a lot from him, not just about a way of looking at music but a way of looking at life. He was a wonderful man and a great friend."

With Jon Lord now retired from Deep Purple, he was asked if he still kept up with the band, who are still very much active, with former Rainbow keyboard played Don Airey taking his place.

Jon Lord said: "The drummer lives not too far from me, Iain Paice, so we're good mates. Roger I talk to a lot. Ritchie I haven't seen in years but we converse via the ether. They're all good pals, they're pals of a lifetime.

"I've spent over 30 years with most of them, that's a friendship that's not going to disappear."

As for his future plans, he said: "I'm just going to keep going along with the orchestra project. I'm putting together what I suppose what you could call a crossover prog rock thing, I want to play a bit more of the Hammond organ with a guitarist, bass and drums and go on the road and see what happens.

"As long as the legs keep working and the hands keep working and the brain keeps reasonably sharp I'll keep doing it until it doesn't seem right to do it any more."

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info : John Kilbride, 25 February 2011 15:28 GMT

Recording Session News For Upcoming Tommy Bolin Tribute CD

2011-02-25T17:13:00.000+07:00

Greg Hampton (producer of the Tommy Bolin Whips and Roses CDs) and Warren Haynes (Gov't Mule, Allman Brothers) are currently co-producing sessions with some of the world's most famous and revered guitarists and singers for their upcoming Tommy Bolin Tribute CD (as yet unnamed). Fabrizio Grossi (Whips & Roses I & II, Glenn Hughes) is also on board as Associate Producer/Mix Engineer. It's been inspiring to learn that all of these legendary guitarists are all fans of Tommy, and are excited about adding parts to original Tommy Bolin multitrack tapes that have never been made public.

Greg’s recent sessions with Steve Lukather which were especially poignant, as the drummer on that original multitrack was the late Jeff Porcaro with whom Lukather played in Toto. Completed sessions include:

Steve Lukather (Toto, solo)
Warren Haynes (Gov't Mule, Allman Brothers)
Brad Whitford (Aerosmith)
Nels Cline (Wilco, solo)
Glenn Hughes (Trapeze, Deep Purple, solo)
Oz Noy (Roger Glover, Nile Rodgers, solo)
John Scofield (Billy Cobham, Miles Davis, Jaco Pastorius, solo)
Prairie Prince (The Tubes, drums on Savannah Woman and Wild Dogs)
Peter Frampton (Humble Pie, solo)
Myles Kennedy (Alter Bridge)
Joe Bonamassa (Black Country Communion, solo)
Steve Morse (Deep Purple, Dixie Dregs, solo)

Also in negotiation or committed to the project are Billy Gibbons, Ben Harper, Tom Morello, Derek Trucks and John Scofield.

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info --> http://www.tbolin.com/hampton/index.html

Ritchie Blackmore Interview : Above the Autumn Sky

2011-01-31T08:51:00.001+07:00

Having known guitar legend Ritchie Blackmore from his days in Deep Purple and Rainbow, I wasn’t quite sure what to expect from his newest CD Autumn Sky, which was recorded with his Renaissance influenced ensemble Blackmore’s Night, but I have to say that I really enjoyed the record.

I know that some of Blackmore’s die-hard metal fans won’t give this band a chance, but they might just be judging the book by its cover, or in this case the album by its sleeve, and not giving the music the dues it deserves.

The record, and all the albums in Blackmore’s Night’s catalog, mix traditional Renaissance music with modern influences in a manner that melds the old with the new, providing entertainment for fans of each genre as well as acting as an introductory vehicle to the older style of music that younger fans may not be familiar with.

Named after Ritchie Blackmore and his wife Candice Night, the group features enchanting vocal work alongside the world-class guitar playing that’s made Blackmore a living legend. Though you may not think this style of music is your cup of tea, give it a chance, you might just find that it’ll become one of your favorites.

Guitar International recently caught up with Ritchie Blackmore to talk about Autumn Sky, the instruments he plays on the record and his songwriting process.

Ritchie Blackmore and Candice Night

Matt Warnock: The new album, Autumn Sky, features a mixture of Renaissance and contemporary songs and arrangements. When you were choosing and arranging the songs, were you conscious about maintaining that mixture throughout the record, or were these just the songs and arrangements that spoke to you the most?

Ritchie Blackmore: We have an array of ideas that I keep on audio tape to refer to when we’re going to record a CD. I don’t consciously choose one Renaissance themed song, one original, one instrumental and so on. I just review the songs that I’ve put on tape and sometimes a track will catch my attention from a CD of Renaissance songs, or perhaps I’ll hear something to cover while out playing acoustic instruments at our gatherings. The whole process is really just a “feel” type of thing.

Actually, one of our main dilemmas is that we’re sometimes unsure how organic to make a song while recording it. I happen to love the traditional and purist sounds. Sometimes we slip down the middle between people that love Renaissance music, because we don’t make it Renaissance enough, and people who don’t like that type of music.

At the end of the day you just have to do what’s right for you. One of the most freeing aspects about being in this band is that we can play any type of music and genre and not be trapped in a box of one musical style. It’s a great exercise.

Matt: On the song “Vagabond” you play a solo introduction that sounds very organic and flows really nicely. Was this opening improvised in the studio and is improvisation something you like to bring to Blackmore’s Night, alongside the intricate arrangements?

Ritchie: Yes. It was improvised. I did about five minutes of improvisation on mandola for that song. Then we just cut four minutes of it out and threw on the 1 minute intro. I had no idea what I was playing at the time. I was just improvising with the theme of the song in mind.

Matt: You cover “Celluloid Heroes” by the Kinks on the record, what is it about this song that inspired you to include it on the new album?

Ritchie: I love this song, have done ever since I first heard it back in ‘75 or ‘76. We actually played this at one of the musical gatherings with our friends. After hearing Candy sing it I knew it had a lot of potential. I think it was a very good vocal from Candy, although we had to rearrange the lyrics as we did a modulation, and lyrically the flow needed to fit with the arrangement. The fact that George Saunders is one of my favorite actors had nothing to do with it.

Blackmore's Night

Matt: One of the songs that really spoke to me on the record was “Strawberry Girl.” Who is the strawberry girl, is she real or fictional, and when you were working with Candice on that song did you write the music first, or her the lyrics, or both at the same time?

Ritchie: I wrote the melody first and then Candy came up with the lyrics, which is our usual procedure. I don’t get involved with the lyrics, but we did dedicate the CD and that song in particular to our new addition, our daughter Autumn. Candy told me, as she was pregnant while we wrote and recorded the CD, that she didn’t know if we were going to have a boy or a girl. So when she wrote the songs they took on a special meaning for her. Then when it turned out that we had a little girl, the songs made sense on other levels, and she knew that the reason she wrote those lyrics were for Autumn. So, what began as fiction came to be true.

Matt: Besides playing guitar on the record, you also play the mandola and mandolin. Both are stringed instruments, but are tuned and strung different to the guitar. Is it tricky to change your mind set when going from one instrument to the other, because of the different tunings, and do you prefer to record each one separately when you get into the studio, recording all the Mandola parts consecutively before moving onto the guitar parts for example?

Ritchie: I have to readjust whenever I pick up the mandola and the mandolin as they are tuned in 5ths, and I have to feel my way around the instrument. When I’m playing a mandolin and the mandola, I don’t know sometimes what chord I’m playing or what key I’m in, but I find that refreshing because it’s a sense of adventure not knowing exactly what I’m playing. I tend to go to different places that are not familiar. Also, when I used to play the cello, play the same way, and that’s how I got the riff for “Gates of Babylon,” which I wouldn’t have gotten to by writing on the guitar.

Matt: Who makes your mandola and mandolin, and do you have multiple instruments or do you prefer to get to know one particular instrument and stick to that on stage and in the studio?

Ritchie: I go through various favorites. I play Fylde mandolas and mandolins, Weber mandocellos, and I have an old Goya mandolin which projects very well. That one is interesting as it’s an inexpensive instrument. I play a Kawakami guitar on stage and a Helmut Gotsky hurdy gurdy. I have 4 Fylde instruments, 3 hurdy gurdys, 1 mandolin, 1 mandocello and 1 Freshwater mandola.

Ritchie Blackmore and Candice Night

Matt: The band is going to be on tour in Germany this coming summer, and your records have sold well there as well. Why do you think the German people have taken to Blackmore’s Night as much as they have over the years?

Ritchie: We always have a pilgrimage to Germany once per year. It’s my favorite place to play because I can pick up music from German bands that are playing Medieval and Renaissance music. We have concentrated on that country. I was inspired to play that type of music after seeing a German Renaissance band called Des Geyers, a more authentic Middle Aged, as they say there, or Medieval band. They play Middle Age, I play old age. [Laughs]

Matt: The album also went Gold in Russia, congratulations. I’m wondering, as I’m sure your Russian fans are, but do you have plans to take the band on a tour of Russia in 2011?

Ritchie: Yes, we’ll be playing there. I love the Russian countryside. I’m not a big fan of the cities, but when we go on our train rides throughout the country, I find it fascinating to see the little houses. We also get some great musical ideas from Russia.

Sometimes we don’t have a clue who originally did the songs to begin with, like the idea for “Toast To Tomorrow,” is from a very old Russian melody that we picked up during our travels there. I love the use of accordions with guitars, balalaikas, stand-up bass, and hammered dulcimers.

Matt: In 2010 you agreed to be an advisor to the National Guitar Museum. How did this relationship develop and how what role do you see yourself playing as the Museum project grows and gets set to launch?

Ritchie: The relationship began when HP Newquist contacted us to see if I was interested. It sounded like an interesting project and we’ve kept in contact about their process and direction. They’re now adding traditional instruments to their museum which should be interesting.

Matt: The band has released a new album just about every 2 years since your first album in 1997. With the success of Autumn Sky, are you already writing, arranging and planning out your next album, and if so when can we expect that album to be recorded?

Ritchie: We’re going to take a year off from writing so a new studio won’t be available for another year or two, but we are thinking about putting out a live record with different interpretations and treatments of some of the songs that we’ve previously recorded.

Many of the CDs we’ve done have 16 tracks on them, so it’s almost like many of them are double CD. There’s a lot of material that’s out there already. Plus we want to take this year and concentrate on touring. And we are always writing, year round.

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info : Guitar International by Dr. Matt Warnock for http://guitarinternational.com/wpmu/2011/01/28/ritchie-blackmore-the-autumn-sky-interview/

A Highway Star: Deep Purple's Roger Glover Interviewed

2011-01-21T07:11:00.002+07:00

The Quietus has a lengthy interview with Roger Glover that covers his illustrious career as a songwriter, producer and bass player. It is a joyful read (despite the fact that they’ve managed to misspell ‘Paice’ in two differently atrocious ways).

Life's lessons can be learned from the Deep Purple story. Talking to Roger Glover reveals how, after a massive fall, one can pick oneself up to become one of the most sought after rock producers of all time. This has included, for Glover, working with Judas Priest in their infancy and helping Ronnie-James Dio establish his place in rock history. He can further teach us how to write a rock hit on the spot in two minutes flat, lets us in on the secret that he thinks hard rock is boring and reveals the ultimate key to rock & roll glory to be simple riffs, street cred and beer.

How did you get to join Deep Purple?

Roger Glover : Back in the midst of time, Ian Gillan and I were in a band together. I always wrote songs and he had a funny way with words so I convinced him to start writing with me. We became a song-writing partnership and we wrote some pretty awful tracks together. The connection to Deep Purple was our drummer. Nick Underwood was someone who’d worked with Ritchie [Blackmore] before. Unknown to us Deep Purple had formed a year before and decided they were looking for a singer and a bass player. So Ritchie called his old friend up and arranged to meet us. They came, they saw and they stole us away. That was in 1969.

What kind of music inspired you when you first started out?

RG : I’m old enough to know what music was like before rock & roll. So when rock & roll happened it changed everything. My first albums were by Presley and Little Richard, roughly when I was 13-years-old. And I wanted to emulate that. I picked up a guitar and wondered how you do it. And someone said, 'This is a chord.' That was at school. Eventually we played a gig there and the idea of being on stage felt natural, so I just carried on.

You played in what is now regarded as the classic Deep Purple line-up. In how far were the additions of you on bass and Ian Gillan on vocals responsible for the sound that was created in those years?

RG : I didn’t really know of Deep Purple before I joined the group. If they were known for anything it was for the virtuosity within the band – Richie Blackmore, Jon Lord and Ian Paice were masters of their instruments. Gillan and I however came from completely different background. We were basically naïve songwriters. So I think there was a great combination there, with their musical ability and our very much street value simplicity. And it was a combination that worked, right from the get-go, I mean the first song we wrote was ‘Speed King’. All that playing they could do and yet we just took rock & roll and turned it into a song.

Were you not intimidated at first by that advanced musicianship?

RG : I was, yeah. But I don’t know, it didn’t stop us, it was a very natural thing. All the songs came out of jams, everything was made up as we went along. And as much as I couldn’t play my instrument and couldn’t play solos the way they could, it wouldn’t have resulted in the way it did without us. So right from the start we said, ‘Let’s all share the publishing.’ So all those early songs were written by the five of us. Keeping that in mind, on that first album, Deep Purple In Rock, despite the fact that Richie was a far better player than I was, I could still come up with riffs that he’d play. He was interested in simple riffs, he was wise enough to know that you can’t be too musical because people won’t understand it. So it’s that combination of high musical values and yet simple, strong ideas. I started ‘Speed King’, for example and ‘Maybe I’m A Leo’ is one of mine.

I’ve heard that Richie Blackmore was a ruthless leader who hired and fired people whenever he felt the need. What’s your view on that?

RG : In the very early days he didn’t come across like that. He came across as quite a mysterious person, yes, but he was always into other peoples’ ideas and he didn’t seem like a leader. Obviously you take any creative people and put them in a room and you’re going to get clashes, you’re going to get friction. And yeah, there was a certain amount of friction. When Jon Lord did the Concerto and all the press went ‘Jon Lord’s the main composer and leader of Deep Purple’, Richie didn’t like that too much. And I think that’s what resulted in Deep Purple In Rock being such an uncompromising and hard album. I think Richie was probably more the architect of that than anyone else because he wanted to impress his will against Jon’s. So that sort of friction can be very good for a band. On stage especially. The winner of that would be the audience because they see two people trying to outdo each other. And it was great for a while. But then success came and the world started getting smaller for us. And that healthy friction turned into a destructive friction.

Please tell me about the infamous demise of the classic Purple era. It’s been suggested that when Ian Gillan quit, you got booted out of the band by Richie Blackmore. Is that true?

RG : Everyone seems to focus on the friction between Ian Gillan and Richie Blackmore and I think that’s the obvious point but it wasn’t just as simple as that. Richie began behaving as if no one else in the band existed. And that’s kind of annoying to put up with. And Ian said to himself ‘If he’s going to behave like that, so am I.' And they grew apart, that last year in the band, they weren’t really talking to each other. It’s kind of difficult to make an album under those circumstances, I felt like a go-between. And I was learning the art of production unconsciously, dealing with a situation that was uncomfortable. So in a weird way it was good for me to learn how to deal with difficult situations and personalities. And Ian wrote his letter to resign and I think he fully expected everyone to turn around and say ‘don’t be silly’, because we were pretty much the biggest band in the world at that time. But no-one did say that. And then it was widely believed that Richie was going to leave as well because he was unhappy and he wanted to be the leader of the band. The rest of us didn’t want him to be a leader so there was a bit of friction there. So in the end he was going to go.

But I guess the others decided that Richie should stay. And Richie’s condition in staying was that I had to go, so I became the sacrificial lamb, which didn’t go down very well with me, I might add. I’d worked very hard on the band, I’d loved the band, I’d written a lot of songs for the band, I’d been producing and mixing, unnamed and unpaid for, so I felt it was highly unfair but as the old saying goes, 'What doesn’t kill you only makes you stronger.' I came back from that Japanese tour a broken man to find that one of my outside productions was very high in the charts and that was Nazareth. I stepped into another career and suddenly became a well-known producer.

It must’ve been a really painful break-up since you temporarily gave up playing music altogether. Please talk me through that period.

RG : You can’t play bass in a vacuum. I did toy with the idea of getting a new band together but after the success and the experience of Deep Purple I didn’t want to be the leader of a band. It didn’t seem right. Yeah I wanted to play again but the opportunity didn’t arise. And when the opportunity did arise I was involved in being a producer. And I enjoy that too, I enjoy anything to do with music. And then six years of that and all of a sudden I’m producing Rainbow, back with Richie!

And on top of that he asked you to join the band too, didn’t he?

RG : Yeah.

Which must’ve come as a bit of a surprise to you, I would imagine?

RG : I don’t know who was more surprised, me or Richie! [laughs] I don’t think he wanted me necessarily. Maybe it was just convenience, you’d have to ask him. But yeah, it was a different set up then, that was Richie’s band, he was actually being the leader. And I accepted that, it’s Richie’s band and I’m the bass player.

Please tell me more about your production work which includes the aforementionedRazzmanazz by Nazareth, classics like Sin After Sin by Judas Priest and Calling Card by Rory Gallagher, to only name a few. What’s your most memorable production work of that time?

RG : The Judas Priest one was interesting. I remember their management called me up and said, 'Would you produce this band, Judas Priest?' And I’d never really heard of them although I was aware of them being around. Anyway, I went to a rehearsal of theirs and there was not a pleasant feeling in the room. They didn’t seem to want me. After three or four hours of listening to the songs they wanted to record I suggested to go to the local pub. We had a drink and as we sat down I said to them ‘I’ve got something to say to you. I get the feeling you don’t want me to produce you, which is fine. I don’t want to produce anyone that doesn’t want to be produced by me. So what’s the story?’ And they said ‘well, we want to produce ourselves but the record company’s insisting that we have a name producer’. I said 'If that’s the way you feel you should sort it out with your record company first and if you want to produce yourselves then insist you produce yourselves.'

So we left on good terms, it was no big deal to me that I was losing out, I had other things to do anyway. I liked to be home for a change. So they went off and started and about two or three weeks later I got a phone call from Glenn Tipton. I said ‘What are you doing?' and he said ‘Well, we’re in the studio and we’re not getting very far. Could you come down and help us out?' So I went down to the studio and by that point they’d sacked their drummer and Simon Phillips stood in as a session man. So I listened to the songs that they’d recorded so far and I said, ‘Well, yeah, I think you’re right, we’ll blow these out, let’s start again from scratch.' We only had six days to do it but they worked very hard so it was actually a good experience.

Nazareth were a great bunch of lads too. I knew them because they’d toured with us many times. They were our support band on at least a couple of American tours back in the early 70s. And they asked me to produce them and we went to London and we did one record, Broken Down Angel. They were very Scottish and I felt like they were a little bit uncomfortable in London. So I said to their manager ‘Why don’t we record the band in Scotland where they feel more at home?' and he said, 'Fine.' So we went up to where they rehearsed, two concrete rooms in a paint warehouse. And they just had so much energy and such determination and in fact the album cost about half the amount of what it would have cost had we done it in London. And there it was ten times better because it was so raw and rocking. We’re still firm friends now. I’m actually just finishing a solo album and Dan (McCafferty) and Pete (Agnew) are singing on it so we do keep in touch.

What was it like to have worked with the late great Ronnie James Dio?

RG : Well, I’d done three albums with Elf. Elf were a completely unknown band out of New York State and I think in 1972 Ian Paice and I went down to America and had three weeks to produce that first album. I really believed in the band and managed to produce two more albums. They came over to England and stayed at my house. We had a fantastic time, they were a very funny band. Micky Lee Soule, who was Ronnie’s writing partner, he’s still with Deep Purple, he’s my bass tech these days. He’s still writing songs but he’s got to earn a living, that’s why he’s teching for me. I think he’s done that for the past 14-years now.

Ronnie dying was a very sad experience, of course, and he and I went out and had a meal that night. We talked for hours about the old days. But Ronnie certainly had one of the best voices I’ve ever heard. I say one of the best, he’s probably THE best singer I’ve ever worked with. The gravel of his voice is timeless. In the early days he limited himself to heavy metal and hard rock but when he didn’t do that he was that much better even. When I did the Butterfly Ball album I wanted different voices for the different characters and Ronnie was the main voice and it was just a magical experience.

What music inspires you these days?

RG : I don’t listen to hard rock or heavy metal. I suppose I’ve always been influenced by folk music, I’m a big Bob Dylan fan. And I like African and avant-garde music, anything that’s vaguely interesting. Hard rock I get a bit bored with because it’s what I do. So anything outside of hard rock’s fine by me.

Talking about boredom, how do you feel about playing staple songs like ‘Highway Star’ and ‘Smoke on The Water’ these days?

RG : You’re playing the songs for the audience and they still think they’re good songs. So I tend to get excited by that, audience reaction. And let me tell you, those guys never bore of ‘Highway Star’.

How do you cope with touring life after 40 odd years in the band?

RG : Well, that’s the difficult part. No one enjoys being away from friends and family. But that’s the nature of the beast. We’ve always been a live band. Plus these days it’s really difficult to keep a band going, we used to rely on CD sales and they don’t exist anymore. So being on the road is the only way to do it. The important thing is when you’re away from home you have to be away from home 100%. And when we you’re back home, you’re home 100%. It’s not like we’re doing a day job where you get home at 7 or 8 o’clock and see the kids for half an hour before they go to bed. You’re home all day. And I prefer that.

Are you planning on recording a new album at any point soon?

RG : It would probably be a good idea if we did but we’ve been doing too much touring for the past four or five years. But yeah, we’re intending to write a new album eventually, we’re on the road for another 3-4 months and let’s see what’s going to happen then. But I’m just about to finish my solo album. I haven’t got a record company for it yet but I like to do the goods first and let the rest sort itself out after.

What kind of material do you focus on playing with Deep Purple live these days? Do you play a Best Of set?

RG : I suppose it’s difficult not to do a Best Of set because we’re known for doing that. And the strange phenomenon that started happening for the past 6 to 7 years is that the audience suddenly got very much younger so we’re playing to teenagers and 20-Somethings. And of course it’s the first time they’ve ever seen us. Maybe they know the music from their fathers or even their grandfathers and maybe it’s a novelty to see a band from so far back still performing. So there is a feeling like we’re all sharing this together. When we play ‘Highway Star’ it’s the same freshness as when we played it years ago because it’s to a new audience. And as I said you’re experiencing it through the audience, we’re not playing for ourselves. It’s invigorating. So far this tour has been one of the best we’ve ever done, we’ve had a wonderful reception everywhere, all across Australia, Asia, it’s been fantastic.

Considering there’s been so many young kids coming to your shows, do you think there’s a move back to kids picking up instruments and starting up ‘real’ bands?

RG : It would be nice to think that. I’m not actually sure that people can spot the difference between a drummer and a drum machine anymore. If you listen to what’s on the pop charts, everything is machine oriented. Not one song on the charts is being played naturally. But when you go see someone live it’s special. Even though you can fool people, I know there are people out there who still play along to tapes. But I guess we have that reputation that we’re still playing without resorting to that kind of trickery. But you know, there are good bands out there, it’s not as if I’m one of these old people who says, 'Oh, they don’t write songs like they used to.' There are some really good players out there and good songs get written all the time but the problem is how to present it to the public. There’s so much competition so the good stuff is drowned by all the bad stuff. And it was always that way to a certain extent. Whatever era you’re talking about there’s always 5% good stuff and 95% shit. So you got to wade through the shit and somehow the cream gets to the top. [laughs]

Which three albums by Deep Purple are you most proud of?

RG : Funnily enough the ones that stick out to me are the ones that are a start of a new era. So the three albums I’d choose would be Deep Purple In Rock, Perfect Strangers and Perpendicular. They’re vanguards of new phases if you like. But I should think probably the most influential album is Made In Japan. It was just one of those moments in time where everything inspired and came together to make a great live album. And that’s something I’m still very, very proud of. Totally live and totally real and it still stands out today.

I read that it was only you and Ian Paice going to the mixing sessions because no one thought it was going to be that important an album. Is that so?

RG : Yes, it’s true, it was just me and Ian Paice but I don’t think it’s because the others didn’t think it was important. By that time, any studio album we made no one showed up for except me and Paice. When we made Deep Purple In Rock all five were there, interested. By Fireball people were sort of like, ‘I’ve had enough now, I’m going home.' And by Machine Head, it was again just me and Paice. But it wasn’t because we thought the album was going to turn out bad.

Live albums at that time were budget things, fillers you did if you didn’t have anything better to do. So I suppose there was some sceptisism about whether we should do a live album or not. But it wasn’t until we got the tapes home from Japan and went into the studio and listened to them that we realized how good it was. So at that point we knew it was going to be an important album.

I’ve heard a rumour that ‘Highway Star’ got written on the spot in response to a journalist asking you guys how to write a song. Is that true?

RG : Yes, that is true. It was on a bus going down to Portsmouth and in those days to get a bit of publicity, we’d invite journalists to travel down with us. And there was a journalist called Richard Green who was known as The Beast. And I think he started talking about how songs get written. And songs were written in those days from jams. And I suppose it started out as a bit of a joke. Richie got a guitar and started playing and Ian started warbling about cars and I came up with the title, I was looking out of the window thinking, ‘Well, here we are on the highway... Highway Star!' You know? And it just got thrown together and in fact I think we performed it that night, a sort of embryonic version of it. Most great songs you hardly have to work on. ‘Black Night’ was another one. We were totally drunk and we’d given up. We were trying to write a single to please the management. We tried this and we tried that but finally we gave up and we went to the pub, went back and ‘Black Night’ almost appeared instantly. And we just wrote the stupidest words we could think of and it was a joke. And of course we thought it would never get used. Lo and behold it became one of our biggest hits. It’s a lesson, really. You’re at your best when you’re not looking. Forget the head, you don’t need the head. If you’re thinking about it it’s a lost cause. It’s got to come instinctively and spontaneously.

How about ‘Smoke On The Water’, was that one written spontaneously too?

RG : Yes, it was. Richie came out with the riff. We started jamming and it took us maybe all of two minutes to get an arrangement – ‘Verse, punch-line, riff, verse, punch-line, riff, chorus, verse, out? Yeah, let’s do that.' And then, of course, the circumstances under which that album was made were a little difficult. We had to move, it was recorded at some other place. But shortly after that we went to the Grand Hotel and started working on the other songs like ‘Pictures Of Home’. And this first song we wrote we’d almost forgotten. And then I came up with the title, I used the words ‘Smoke On The Water’ but I didn’t know what they meant at the time. And when we’d almost finished the album, we needed one more track. So we went, ‘What about that track we did at that different place, let’s have a look at that. And it’s called 'Smoke On The Water' and it’s about what happened to us here.' So it was an afterthought in a way. And the words got written very quickly. They’re almost conversational. No attempt to make them poetic or make them rhyme cleverly or anything like that. Not a lot of thought went into it. [laughs]

What current musical trends have influenced you lately?

RG : We’re influenced by each other. We don’t pay any attention to what’s current, I don’t know what a current musical trend is. What would I listen to? A singer-songwriter or hip hop? Not really. It all comes from the instruments. It’s as simple as that, really. We’re a simple band.

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Info : thequietus.com (Dr Rock) and http://www.thehighwaystar.com/

Morse + Morse + LaRue + Portnoy + McPherson

2011-01-05T13:22:00.000+07:00

Guitarist Steve Morse (DEEP PURPLE, DIXIE DREGS), drummer Mike Portnoy (DREAM THEATER, TRANSATLANTIC), multi-instrumentalist Neal Morse (TRANSATLANTIC, SPOCK'S BEARD), bassist Dave LaRue (DIXIE DREGS) and vocalist Casey McPherson (ALPHA REV, ENDOCHINE) have joined forces in a brand new project. The as-yet-unnamed band has just entered the studio to begin work on a new album, due later in the year.

Regarding how the new project came together, Neal Morse said, "Last April I got together with Steve Morse to do some writing and to see what would happen with a collaboration between the two of us and how I went down to his house in Florida and spent some days with him, getting to know him and writing some music and we had a really good time. So we've been talking about doing a project together for a while."

As for the musical direction of the new project, Neal said, "We're all going to get together and work from scratch with no pre-prepared material and see what comes out.

"I'd like to do something different. Something to make it very different from like my solo stuff or TRANSATLANTIC.

"There are some demos and some things that Steve and I did in April that we've worked on and so we'll have some things to start with, but I think the plan is to get together and see what happens and write in the room."

He added, "We're all excited about the project, but it is a bit of a mystery as to what will come. The vision is to do something a little more song-oriented and not quite so riffy, as one might expect. But still, of course, having the musical elements that people like Steve Morse, Dave LaRou,Mike Portnoy, and myself can provide."

Although Neal is hoping to release the album this year, he was quick to point out that there is no firm timetable set for the completion of the new project's debut.

"We've mapped out about 10 days [in the studio for the project's first session]," he said. "We'll see what happens and see how much we can get done, if we can't get the basics down enough for an album then we'll have to continue on later.

"Everyone's schedules are a bit in flux and their very busy people so I don't know how long it will take us to actually finish and release the record."

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info : Blabbermouth

Chopin's Story by Ian Gillan from Deep Purple

2011-01-05T13:13:00.001+07:00

Ian Gillan has been on location in Poland filming his contribution as presenter and narrator for a documentary with the working title 'Chopin - The Polish Years'. The film deals with Fryderyk Chopin's early life and influences. Here are a couple of candid shots from the first day. Also, a really great picture of IG with Steve Lee taken last year.

This is the official video trailer of the upcoming movie about the life of Frederic Chopin.

A trailer is available to view on YouTube.

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info -- > http://www.gillan.com/
Production © : TV Project 2010

Vampire Blues

2010-12-26T23:10:00.000+07:00

According to Mike Eriksson, the vampire movie Blood (released 2009, and a live action remake of an earlier Anime feature) uses Space Truckin´ in one of the major fighting scenes. It’s the Machine Head version. I’ll have to keep an eye on the World Cinema section in the dvd store – we’re fans of both the Blade and Underworld vampire film trilogies ourselves, so be interesting to compare. Plus with Wesley in jail and Kate getting sniffy about the role, those franchises aren’t going anywhere soon…

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Info : Simon Robinson

Hanwell ’69

2010-12-21T10:24:00.001+07:00

We’ve banged on about the efforts to save (by the local community) and destroy (sorry, sell to a property developer by the local authority) Hanwell Community Centre in the magazine before. As many fans know, this is where DP Mk 2 spent many weeks jamming in 1969 and developing the In Rock album material. Anyhow, the place was saved some time ago, but the staff fear the current climate might bring new threats to the place.

They now have a new website up though, which includes a few pages about the bands who rehearsed there in 69, including DP (with images donated by us). Visit them at Hanwell Community Centre. The photo here shows the spruced up games room which was used in the film Billy Elliott. The Who used this room for a time, not sure if DP ever did, or more likely stuck to one of the smaller rooms.

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info : Simon Robinson for http://darkerthanblue.wordpress.com/2010/12/14/hanwell-69/

Tony Edwards, former manager of Deep Purple, died on November 11th at the London Clinic aged 78

2010-11-15T12:48:00.002+07:00

A lot of you will know that I worked with Tony on projects to access and release the band's catalogue over many years, right up to just a couple of days before he died. His passing will leave a large gap in our lives. Tony had been subject to a number of serious problems over the last 18 months or so, but even during spells in hospital managed to keep in touch via his Blackberry and latterly iPad.

I think it was a measure of the man that even when we disagreed over things, which wasn't that often over some thirty years (and over 100 releases or more), it was still hard to get too angry with him. He was remarkably generous in allowing me to tackle many of the reissues as we saw fit, trusting in our judgement. The result has been a back-catalogue which more than did the band's music justice, and which was often the envy of fans of other groups.

It was without doubt Tony's love of spotting an opportunity which sparked life into the embryonic contacts between musicians which evolved into Deep Purple, and which he and business partner John Coletta (who died in 2006) sunk money into for a couple of years until the breakthrough album In Rock justified the faith of all concerned. My own memories of Tony are many; it wasn't being whisked around London in his old Bentley as a 20 year old that impressed me so much as his vintage Sherlock Holmes attire of a deerstalker and cape, old school even then and especially incongruous for a man who was at the time managing Toyah and Jayne "If You Don't Want To Fuck Me Fuck Off" County at the height of the punk era.

More interestingly to me Tony still retained a love of Deep Purple's music, not something many managers can ever be accused of. When we were working on clearing the BBC broadcasts for the first time, he rang up at some unearthly hour of the morning excited by hearing the old broadcasts for the first time, feelings which more than echoes my own at hearing this material in pristine shape for the first time. This week we'd been gathering our thoughts for a slew of exciting projects being developed for 2011 in connection with the anniversary of Smoke On The Water, in preparation for a meeting when he came out of hospital for what we understood was to be a short stay for some restorative surgery and physio work.

Deep Purple and their music have been a part of many of our lives for years, and while at the end of the day it was the musicians which created that often superb body of work, it was in large part Tony Edwards who helped sow the seeds back in the winter 0f '67. Thank you.

Photo: Tony Edwards on the far left with members of the band (and his business partner John Coletta far right) aboard the Starship in 1974.

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info --> Simon Robinson at http://deep-purple.net/features/tony-edwards/tony-edwards.html

Indonesian Nightmare Strikes DEEP PURPLE

2010-10-26T17:29:00.003+07:00

Tragedy and mayhem struck the Deep Purple tour December 4 in Jakarta, Indonesia, when one of the group’s road crew, Patsy Collins, a well-loved celebrity of the British rock scene and guitarist Tommy Bolin’s bodyguard, was killed in a six-story fall down a service elevator shaft at the band’s hotel. Then at a Deep Purple concert the following night, Indonesian police armed with machine guns, truncheons and a pack of Doberman pinschers waded into the audience, seriously injuring over 200 people.

Deep Purple played to an estimated 150,000 Indonesians in two shows at the outdoor Senyan Sports Stadium as part of their first tour since adding Bolin to the band. The first concert, which saw about 20,000 people break down fences to join 35,000 ticket holders, was relatively free of police reaction. “they let everybody be, “ keyboard player Jon Lord said. “There were machine-gun guards all over the place and they were pushing kids around, but there seemed to be no organized police thing.”

Back at the group’s hotel after the opening concert, Collins got into an argument with two other member of the road crew and left their room to go upstairs to his own. The elevators in the hotel were operating slowly, so the impatient Collins decided to walk up the fire escape stairs to the next floor, only to find the door on the next landing locked. Then, inside the stairwell on the sixth floor he found an unmarked, unlocked door. He opened it and hastily stepped in, plunging three-floors down the service elevator shaft, crashing through some hot water pipes. The explosion was heard by another of the band’s crew, who ran from the hotel lobby thingking a bomb had gone off. Boiling water cascaded through the lobby ceiling.

A set of larger pipes had stopped Collins’s fall, and though in shock, the stout, muscular man smashed through a door on the third floor, only to be trapped again by another locked door. Bleeding profusely and badly burned, Collins accidently stumbled back into the shaft. Falling three more floors to the main floor.

Amazingly, Collins got to his feet again, found an open door and staggered into the hotel lobby, muttering, “Hospital.” He walked outside the hotel, climbed into a parked minibus and then collapsed. Hospitalized, he died early the next morning from internal injuries and burns.

Surprisingly, the Jakartan police arrested the two crew members Collins had argued with and , later, the band’s manager, Rob Cooksey. The three were held on suspicion of murder and isolated from the jail’s other prisoners for two days, said Cooksey, “with a kind of threat hanging over us. All the time we were under suspicion of murder, they were making us sign autographs and things. You just wouldn’t believe the mentality.”

After interviewing two girls who were eyewitnesses to the accidental death, the police became convinced that in fact it was an accident and the three were released. “They’re all on the take, on the make,” said a disgusted Cooksey.

The night following the accident, with three of their entourage in jail, Deep Purple played their second show. About 6000 armed and helmeted policemen, backed by dogs, circulated throughout the stadium. Before the concert began, an announcement warned any Europeans in the audience to congregate near the side of the auditorium.

No sooner did the music begin, getting the rock-starved Indonesians to their feet dancing, than police waded into the crowd, savagely butting, clubbing, punching and kicking the boogying audience. Then the Dobermans were let loose, joining the attack. Deep Purple keyboardist Jon Lord later said, “Every time an effort to get up and boogie was made by any section, it was immediately pounded on.” He also recalled seeing one mammoth dog dragging a kid across the floor by his arm, its teeth sinking into the boy’s flesh.

The band played only half a set and left the stage frightened and sickened. “they went crazy said Cooksey of the Indonesian police. “It was like maneuvers for them. Just a nightmare.” And though Bolin thought that Collins had simply misread a sigh, Lord left Indonesia doubting that the death had been an accident. “Obviously the guys who were arrested had nothing to do with it, but I don’t personally believe that Patsy would step into a lift shaft. You don’t open a door and step into the darkness.”

ROLLING STONE MAGAZINE, JANUARY 29, 1976

By Peter Crescenti (submitted by Gord Jantzen)

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info --> http://www.tbolin.com/articles/rollingstone_012976.html

Out Of My Mind

2010-10-12T08:21:00.001+07:00

Update From Tony!

7th October 2010

I had a great time in the studio yesterday with Ian Gillan, Nicko McBrain and Jon Lord. We had a brilliant time together laying down the track "Out of My Mind" and a lot of fun doing it, plenty of jokes and humor! As expected everyone played so well. What an exciting time!!

- Tony Iommi

In 1989 Tony Iommi and Ian Gillan were just a few names in a long list of talent involved in the recording of the Deep Purple track "Smoke on The Water." This song was re-recorded to raise money for those affected by the Leinakan earthquake that struck Armenia in 1988. In October of last year both Tony and Ian travelled to Armenia to see how the funds raised had helped the local community. On their trip they visited a music school only to find it being run out of temporary accommodation, it was the only location not to have been rebuilt 20 years after the earthquake had struck.

The new track "Out of My Mind" is due to be released to raise money to build a new music school. More information about the charity single, behind the scenes photos and details will follow soon!

info --> http://www.iommi.com/index.php?story=83

Guitar Player Magazine

2010-10-12T07:55:00.001+07:00

How many guitarists could go playing stadium rock with the band deemed loudest in the world by the Guinness Book of Records, to swinging through “Sweet Georgia Brown” in a small club? One of that select few is former Dixie Dregs leader Steve Morse

On a recent Monday night, Morse capped off a weekend with his rocking trio at New York’s Iridium by sitting in with the Les Paul Trio, augmented by SNL drummer Shawn Pelton. The lucky audience was treated to a rendition of “Somewhere Over the Rainbow” played with false harmonics, a two-step that launched some Dregs style twang, pedal-steel emulations on the Les Paul Mary Ford classic “Via Con Dios,” and a solo on a funky “Sweet Georgia Brown” that honored the melody while displaying the famous Morse chops.

We sat down with the veteran guitar hero to find out what it was like going from shredding to standards.

What is the difference between the way you play with Deep Purple and with your own band?

With my trio there is a lot more pressure because I am playing melodies and lots of difficult parts and changes. If it is a simple melody I try to enhance it by rolling in the right amount of synth or delay, or changing the pickup or tone setting. During difficult melodies, like “On the Pipe,” I have to adjust the balance between the wet amp and dry amp, then there is not even an eighth-note between the melody and playing this rising chord part, and I have to turn the synth on, go to a different pickup, etc. With my band the solos are really a chance to relax. With Purple we have a keyboard and melodies coming from the vocals. The only time I am in there crucially is during the solos.

Tonight you are playing with the Les Paul Trio. What was your relationship to Les Paul?

I have met him, but unfortunately never got to know him. I am very honored, because I love everything I know from listening to him play, and clips from his TV show. I love his inventiveness, his willingness to say, “This is the way it is always done, why don’t I try something different anyway.” That is the attitude that pushes any combination of science and art forward. And besides being a great player he was such a great performer.

How did you feel playing with his trio?

It was amazing. Every once in a while I get to do one-off gigs with incredible people. In this genre they are world-class players, doing this thing and dragging me along with them. I’m trying so hard to just remember what keys the song is in.

You sounded very comfortable playing through the chord changes. Do you have a background in jazz?

Yes. At the University of Miami I was technically a jazz major. But I wasn’t really because I studied classical guitar and did the music that became the Dregs—it was jazz-rock at best. The jazz guys tolerated me though they knew I wasn’t a jazz player. But being around all those players you can’t help but pick up the basics of playing over changes. A lot of the music that I personally love is played over changes. With rockabilly stuff it is possible to play like a jazz player and it fits perfectly in the style—the same with bluegrass. Because of that I am comfortable playing over changes—if I can remember them [laughs].

Swing and country seem very close.

Thank you for mentioning that because a lot of people think that there are these divisions between styles and as a player it almost comes down to what hat you are wearing and what kind of guitar you are playing—the note choices are all the same. I love to combine styles. I feel less comfortable defining a particular style. How can you leave out some things that are a part of you?

Roger Glover : Paintings & Pictures (1964-2010)

2010-10-07T11:20:00.001+07:00

The first exhibition of Roger Glover’s art Paintings and Pictures 1964 - 2010 will open in Köln (Cologne), Germany, later this month and will run through the end of January. "Between and during his travels all over the world, from time to time RG has felt the need to take up a brush, pencil, pen or camera, purely for his own enjoyment. Apart from the realist paintings he has a keen interest in abstraction, looking for subjects that appear to be unconscious in their design. In his photography also, he takes pleasure in finding accidental images with a particular fascination for the effects of time and decay on various surfaces. This is his Found Art. There are also some samples from a future project called March of the Corridors".

All works, except for the painting (high quality prints) are presented in the original. The limited edition, signed works can be purchased. The sale proceeds will go to charitable and social institutions which do not have a large lobby and have been selected by Roger himself:

The opening event will be held at 19:00 on Friday, October 22 with the artist himself in attendance. Other events during the exhibition:

Friday, December 3: Krysmah — Deep Purple, Rainbow, Whitesnake u.v.m. - Acoustic cover songs, 7 € admission
Tuesday, December 12: Gerd Schinkel, “rooted in the life” - on roots music, 5 € admission
Sunday, December 23: Manfred Stoffer photography — Deep Purple Live On Stage and Backstage, 5 € admission
Friday, January 28: Stargazer — Deep Purple, Rainbow, Whitesnake cover band, 9 € admission
Sunday, January 30: Didi Zill, Deep Purple’s long time photographer, 7 € admission
Monday, January 31: Peter Rüchel, “The Maker” from the Rockpalast, will read from his book + own experiences, 5 € admission

All events start at 19:30. All admission prices will be mostly donated to the charitable projects selected by Roger Glover.

Location:
K-8 Gallery
Ursulastr. 2, 50668, Köln (Cologne)
Telephone: 0221-7024660
Opening times: Mon-Thu 08-17, Fri 08-13, special events up to 22:00.

Thanks to (for the info) :
Ralf Schmidt
http://www.thehighwaystar.com/news/2010/10/04/rogers-exhibition-in-koln/

Two Deep Purple Reissues Due

2010-09-21T11:56:00.002+07:00

Two brand new Deep Purple reissues are due on 25 October.

First up, the 1980 compilation Deepest Purple, will be given a makeover, expanded with a couple of tracks and repackaged with a new DVD featuring video clips, interviews and a few other bits and pieces.

More interestingly, though, is the Come Taste The Band 35th Anniversary reissue, which will see the much underrated Mk.IV album remastered, remixed and expanded.

It includes a remastered version of the album, plus the single version of You Keep On Moving on CD 1. CD2, meanwhile, has the album remixed by Kevin Shirley, with input from Glenn Hughes, plus two unissued instrumental tracks from the sessions.

Here’s the tracklist:

01. Comin Home
02. Lady Luck
03. Gettin Tighter
04. Dealer
05. I Need Love
06. You Keep on Moving
07. Love Child
08. This Time Around
09. Owed to G
10. Drifter
11. You Keep on Moving 45 edit

01. Comin Home
02. Lady Luck
03. Gettin Tighter
04. Dealer
05. I Need Love
06. You Keep on Moving
07. Love Child
08. This Time Around
09. Owed to G
10. Drifter
11. Always the Same in LA
12. Bolin/Paice Jam

Deep Purple Convention

2009-06-22T00:08:00.005+07:00

The dust has settled and from comments we have received so far it would appear that the day was well received;

I just wanted to say a BIG thank you for a wonderful day. Well done for sorting out such an event. In the last couple of years I've become a huge Glenn Hughes fan too so it was great to see him again. I think he was the icing on the cake! I had a great time, cheers. Rob Walton.

I really enjoyed the convention yesterday. Glenn was in top form as usual. Stephen Hounslow.

Brilliant Day, Well done for great organisation. Mark.

Loved the show I've seen Glenn so many times over the years but that was something different. Glenn really enjoyed it too and said he may do some more shows in a similar vein. Nice to hear Holy Man and Will Our Love End plus the tracks from Play Me Out great! You seem to have put so much effort into organising it it was really good. All the best. Tom Taylor.

Well done for Saturday! Another great day and I think most people would agree with that. Everyone seemed to have a good time. We all had a gas and we were very pleased to share some stage time with Doogie. Nice to meet Bernie Torme too although we'd spoken years ago on the phone. Johnny Heywood, Burn

Great night, really enjoyed it. Andy Stringer.

Really enjoyed working with all the bands and it was great to work with some incredibly professional musicians.
Caroline Adcock (sound engineer)

Just wanted to say a big thank you for the wonderful evening we spent in Bedford on Saturday.
Well done, guys! All the best. Nathalie & Jerome, France

Just wanted to thank you for this really extraordinary event! We enjoyed the private atmosphere, the concerts, the "meets and greets", simply every minute of this great day. Thanks again very much! Hope to meet you again some time! Rock on!
Cheers! Bernhard, Munich, Germany

Being a great 68-76 fan, I thought the day was brilliant & those who didn't turn up simply missed something very special! So thanks for taking the risk & putting it on! Tonny Steenhagen

It was fantastic - I went to the DP convention in 1995 in Sheffield and this one topped that by miles. Great organisation and what a great guy (humble) Nick Simper was. See you at the next one in 10 years! Steve

My son and I had a great time on the day. Cheers. Terry Boud

I had a good time at the convention, it was worth the trip from Manchester to see and hear Glenn, he was awesome!
Many thanks, Mike Galway
__________________________________
As part of the Convention celebrations, www.deeppurple.com offered two VIP Packages to the Deep Purple show in London on July 30th, which we raffled on the day. The 'Purple Envy' packages include early entry to the venue, an exclusive merchandise package, a backstage tour, and a meet & greet with band members.
The winners were Doug Anderson and Tony Breslin. Congratulations.
We also had a Glenn Hughes laminate to offer, and incredibly one of the above also won that,
so he clearly must have bought lots of raffle tickets!

During the day we screened some rare video footage, had a Q & A with Nick Simper, and Ritchie Blackmore's former PA Rob Fodder, plus Glenn Hughes did a meet and greet signing session. Former Gillan guitarist Bernie Torme was also in attendance.

The live music from Burn (including Rainbow's Doogie White on a couple of tracks),
the Good Old Boys featuring original Purple bassist Nick Simper and Glenn Hughes concluded the day's events.

SETLISTS
The Good Old Boys
I'm Ready, A Fool For Your Stockings, My Way, Shakey Ground, Sleepwalk, Twenty Flight Rock, Somebody To Love, Don't Worry Baby, C'mon Everybody, Shakin' All Over, Oh Well, Hush, The Good Old Boys.

Glenn Hughes (with Anders Olinder on keyboards)
Coast to Coast, I Found A Woman, Mistreated, It's About Time, Seafull, This Time Around, chat and question and answer session, When Will Our Love End, Nights In White Satin, Don't Let Me Bleed, Holy Man, You Keep On Moving, Stormbringer.

Burn
Stormbringer, Strange Kind Of Woman, Space Truckin', You Keep On Moving, When A Blind Man Cries, Highway Star (with Doogie White), Burn (with Doogie White), Mandrake Root, Woman From Tokyo, Lady Double Dealer, Hush, Black Night, Smoke On The Water, Bullfrog Blues.

-------------------------------------------------------------------------------------
Celebrating the fortieth anniversary of Deep Purple’s inception (1968 - 2008)

Esquires, Bedford, 3rd May 2008
http://mbtp.wymeruk.co.uk/convention.htm

GLENN HUGHES Says DEEP PURPLE Mk. III Reunion Won't Happen

2009-06-15T00:05:00.001+07:00

Legendary vocalist/bassist Glenn Hughes was interviewed on "The Classic Metal Show" on April 11 about his new album, "First Underground Nuclear Kitchen", and the 35th anniversary of the DEEP PURPLE classics "Burn" and "Stormbringer" (along with their recent remastered reissues). An excerpt from the chat follows below.

The Classic Metal Show: Glenn, there's always rumors that this lineup of PURPLE or that lineup of PURPLE or your lineup of PURPLE is going to get put back together. There's been a lot of talk that the Mk. III lineup (Hughes, vocalist David Coverdale, guitarist Ritchie Blackmore, keyboardist Jon Lord and drummer Ian Paice) will be [reuniting for a tour]. I'm assuming by the fact that you are out there doing more funk, and Ritchie Blackmore is out writing music for renaissance fairs, that it's pretty much not in the cards anymore. Is that correct?

Glenn Hughes: You know, David (Coverdale) and I have been discussing this with Jon Lord for the last three years. It's been on the table, off the table, on the table, off the table. David and I had a long discussion three months ago about doing it one more time. It wouldn't be a good time to do it in the next year, but there are a lot of things that may stop it from happening. So I'm telling you guys here on the phone tonight that I can't see it happening. I don't want to donate any more of my time to doing this. All across the world, the same questions are there. "When are you guys going to get back together?" I can't see it happening, and I don't think about it anymore. You guys just asked me the question. I never think about it. It's not part of the thought process anymore. For many, many reasons, it won't happen. It's a shame, because the fans would have loved to see it, but then again, I understand why [LED ZEPPELIN's] Jimmy [Page] and Robert [Plant] probably won't want it together. Let the legacy be intact. I don't know if people will really want to see guys doing the same songs they did 35 years ago. I don't know. I know there would be a lot of people, thousands and thousands of people every night that would pay to see this. None of us want to do it for greed reasons. We would want to do it for some kind of artistic revelry. I would want to do it for that reason. I don't want to get up on that stage and just coast, put on the pipe and slippers and just yawn and get all that money. That's not what I want to do. I want to give the audience a really, really good time.

Apr. 13, 2009
http://www.roadrunnerrecords.com/blabbermouth.Net/news.aspx?mode=Article&newsitemID=118037

Ritchie Blackmore - Medieval Times

2009-05-23T11:40:00.005+07:00

Ritchie Blackmore reflects on his decades of fascination with Renaissance music and talks about his latest endeavors to blendelectric guitar with old-world instruments on the Blackmore’s Nightalbum Secret Voyage.

“I've always been very intense about anything I wanted to do. I think that’s part of my character, being intense about whatever it is I want to get into, whether it’s research, or kicking a ball around in soccer, or playing the guitar, or delving into medieval and Renaissance music. I can’t just do things passively; I have to really study something and try to figure it out.”

Ritchie Blackmore—by any estimation one of the greatest and most important rock guitarists ever to have lived—is discussing his fascination with the type of music he plays with Blackmore’s Night, the band he leads with his wife, Candice Night, and has been dedicated to since the band’s 1997 debut, Shadow of the Moon. The group’s seventh and latest album, Secret Voyage (SPV), blends medieval and Renaissance-era melodies with Night’s original lyrics and Blackmore’s acoustic and electric guitar mastery.

It hasn’t always been thus, of course. The British guitarist found fame initially as a member of heavy metal pioneers Deep Purple, from 1968 to 1975, and wrote what is probably rock’s best-known riff with the smash hit “Smoke on the Water.” He continued to court success with Rainbow from 1975 to 1984, first with singer Ronnie James Dio and, afterward, with Joe Lynn Turner. In 1984, Blackmore reunited with former Deep Purple bandmates Ian Gillan, John Lord, Roger Glover and Ian Paice and released the very successful Perfect Strangers album. Tensions between Blackmore and Gillian led to Blackmore’s departure and the reformation of Rainbow, from 1993 to 1997. From then forward, he directed his energies into Blackmore’s Night.

As a guitarist, Ritchie Blackmore is truly one of a kind. Though he emerged at a time when the competition was quite stiff—his contemporaries included the likes of Jimi Hendrix, Jeff Beck, Jimmy Page and Eric Clapton—Blackmore possessed a wholly distinct rock style that proved as powerfully innovative as any of his peers, and with it he pushed the limits of technical brilliance and virtuosity to unprecedented heights. Intrinsic to his unique approach was the incorporation into the rock genre of classical themes and, for the time, very unusual scales and modes such as Phrygian, Phrygian dominant and harmonic minor.

“I was initially inspired to explore that direction because of my love of classical music,” Blackmore explains. “I was obviously into rock guitar playing, but I was also very attracted to the classical overtones. Above all, we, as a band, approach this music with a spirit of creativity.”

Within the context of Blackmore’s Night, the legendary guitarist explores traditional English, Celtic, Hungarian and Russian folk musical forms, as well as pre–Baroque Renaissance music from every corner of the globe. On Secret Voyage, Ritchie’s distinct musical signature propels such standout tracks as “Toast to Tomorrow,” which finds its roots in medieval Russia, “Gilded Cage,” which utilizes 17th century French musical forms as its inspiration, the propulsive “Locked in a Crystal Ball” and the solo instrumental showcase “Prince Waldeck’s Galliard.”

GUITAR WORLD Can you describe your musical modus operandi for the latest Blackmore’s Night release, Secret Voyage?

RITCHIE BLACKMORE A good place to start is the track “Locked in a Crystal Ball.” The melody of that song is taken from the Cantigas de Santa Maria [a manuscript that represents the epitome of the Mediterranean medieval musical phenomena], actually written by King Alfonso X in Spain back in the 1200s. Very old, great tune. Medieval and Renaissance music of this type is the kind of music I listen to most of the time. Candice wrote some new words for that melody, which is something I’m sure would annoy the purists out there. There are purist Renaissance bands that exist today that frown on that type of thing, because the song was originally written in Latin and was a religious song that was sung in church.

We tend to do that a lot : take a melody from very old music, from way back in the past, and I’ll come up with a chord progression that is true to music of that era. Then Candi will write words for it, or change the words, and make it, not more modern, but our interpretation of it. That’s the bottom line with us: we are musical nomads, because no one else is doing what we’re doing. If other musicians do the old music, they tend to do it in a very traditional form, exactly how it was written. We like to mess with it a bit, which I think is how the minstrels back in those days would have done it. Oftentimes, the minstrels in those days could not read music, so they would improvise on a theme that they’d heard in the other village, which would result in interpretive changes in the music.

GW Has your study of this music included a look at written manuscripts of medieval and Renaissance music, along with listening to various recordings?

BLACKMORE Yes, and what I find fascinating—amongst a lot of other things that I find you can hear so many different versions of the same piece of music. I follow this type of music very closely, and I’ll hear the same tune played in many different ways, with different notes. So this type of music was always open to the interpretation of the performer. In that era, it seems that as long as you were within two notes of the actual note, it was okay!

CANDICE NIGHT Even when we are working something that is based firmly on an old Renaissance song, Ritchie is such an improvisational player that, every time we play it, he interprets the music in new and different ways. He breathes new life into these songs with the way he relates to the music, and expresses himself within it. I don’t think it’s a conscious thing with him; it’s just the way he plays.

GW So, for example, on a song like “Locked in a Crystal Ball,” are the single-note lines you play between the verses and vocal phrases improvised?

BLACKMORE Yes, that’s right.

NIGHT So much of what Ritchie plays is improvised, and I think that’s one of the biggest challenges. Renaissance music, in its purest form, is so rigid and regimented. It’s very strict.

BLACKMORE To me, one of my weaknesses is sticking within a rigid musical form. So I’m attracted to that challenge of trying to play within the structure while still operating as a free-form type of player.

GW Is finding your own angle and approach to this music part of the endeavor, as opposed to sticking to faithful recreations?

BLACKMORE Absolutely. I wasn’t schooled to play this music in the traditional sense, but it really excites me when I hear it played in its purest form. My contribution is to take it into another realm, which is a little bit of rock and blues thrown in there, disguised. I don’t do a lot of string bending when I’m playing this music, but I’ll certainly be thinking almost like a blues/classical player. If anyone is really into this music, they usually stick to how it was played, or how they think it was played, back in those days. Candice and I will often sit down and play this music like a real purist medieval band. I’ll be playing the mandola [an eight-stringed instrument having four paired strings tuned in unison] or the nyckelharpa [a stringed instrument played with a bow and fingered with keys rather than a fretboard], and she’ll be playing the shawm [the oboe’s predecessor], and we’ll say, “This is exactly what the purists would want.” But then we’ll say, “Ah, let’s make sure there’s a drum thing in there, and let’s add synthesizers and flutes,” because we really would rather be interpreters than recreationists. One of the strangest compliments I ever got was, “I don’t like Renaissance music, but I love your band!” Yet we’re playing Renaissance-inspired music.

GW Your interest in the incorporation of classical themes with rock is well represented by many Deep Purple and Rainbow recordings, one such example being Deep Purple’s 1969 release, Concerto for Group and Orchestra, recorded with the Royal Philharmonic Orchestra.

BLACKMORE That was an experiment, and that was more Jon’s [Lord, Deep Purple keyboardist] world. It wasn’t my world; I felt very awkward. I was supposed to play a 24-bar solo with the violins behind me, and of course I ended up playing like 52 bars instead. So I even messed that up! The conductor had to bring in the violins after my solo, and he was just looking at me, hovering…[laughs], “We’re now into the 52nd bar; it was supposed to be over at 24. When is he going to stop?!” And of course the violinists were all holding their ears!

GW In the YouTube videos of that performance you can see that some of them were actually smiling.

BLACKMORE They were smiling because they were thinking, Who are these… Everyone was complaining about my amplifier being too loud.

GW Have you had to change anything in regard to your playing technique in order to play the music of Blackmore’s Night?

BLACKMORE Yes, I have. I’ve had to come to terms with some real challenges since taking on this endeavor. It can be incredibly exhilarating and also incredibly depressing, because I have now adopted a different playing technique. In the old days, I always played with a pick, and that was the end of it. Nowadays I’m playing mostly fingerstyle because a lot of the time I am accompanying Candi’s singing, without the band, and I have to cover the bass lines and the chords simultaneously. So this plays its part in everything I write, because I write with the application in mind that I have to cover all of the parts. What’s complicated about it is that I now have two styles: one is fingerstyle and the other is electric plectrum-style. I utilize both onstage, and it takes a few moments to get comfortable switching from one to the other. If I’m playing fingerstyle and I have to switch immediately to using a pick, my picking takes a minute to kick in. It’s like, “Wake up!” The truth is that I never practice picking anymore, because I’m usually playing fingerstyle when I play at home.

GW Many guitar fans view your Seventies-era incorporation of classical themes, along with nods to medieval scales and melodies, as the foundation of the neoclassical rock movement. Have you always had an interest in medieval and Renaissance music?

BLACKMORE I got into the type of music that we’re doing now when, at the age of nine, I first heard “Greensleeves.” This choirboy sang it at school, and the song moved me so much; it took me back to another time. Ever since then, that song has remained at the back of my mind.

NIGHT I think any fan of Ritchie’s can see the reflections of that influence in a lot of the music he’s played over the years, such as his versions of “16th Century Greensleeves” with Rainbow and Deep Purple. “Temple of the King” is another great example, and there are a lot of songs wherein the Renaissance era is reflected.

BLACKMORE “Greensleeves” is a great example of the beauty of the medieval musical form, because it revolves around the harmonic structure of parallel fourths and parallel fifths, exactly the stuff you would hear being played on shawms.

NIGHT We have all of those instruments, like the cornamuse—which is the true predecessor to the oboe—and the rauschpfeife, which are both double-reed instruments, as well as the gemshorn, which is actually a cow’s horn.

GW Candice, were you playing this type of music from a young age?

NIGHT No, I’d never even heard Renaissance or medieval music before I met Ritchie. The genesis of that music’s influence on me started when I would visit Ritchie at his big, old dark Tudor house in the middle of the Connecticut woods at the beginning of our relationship, and this was the type of music he listened to at home all of the time. He had his own “minstrel’s gallery” [a balcony from which musicians can perform] up there, and that music would fill the house. For myself, I can find so much inspiration in nature itself, and this type of music strikes me as the perfect soundtrack to nature; if you were walking through the woods, this music suits that feeling so well. The same can’t be said of most of the music you’d hear when you turn on the radio today. Most modern music makes me feel annoyed, rather than feeling inspired, or melancholy, or reflective, or uplifted.

GW Do you use some of these Renaissance-era instruments on Secret Voyage?

BLACKMORE Yes, we did. I’m obsessed with instrumental Renaissance dance music, and I probably always have been. We’re talking about music from the 1400s to 1600s. After that, you start to get into early baroque and more symphonic music. At first, I would adapt all of those melodies that really thrilled me to the guitar, but later on I began to learn to play some other instruments, like the mandola, the mandocello [a member of the mandolin family with a scale longer than the mandolin] and the hurdy-gurdy. A hurdy-gurdy is a chromatic, two-octave stringed instrument with a handle that you have to turn while you play. Turning the handle causes a rosined wheel to vibrate the strings, similar to the way a bow is used on violin, and there is a keyboard that is used to sound specific pitches, as well as a drone string, or many drone strings. A lot of people think a hurdy-gurdy has a monkey on it [laughs], but it doesn’t. I learned to play one of those, too. My latest acquisition is the nyckelharpa. It is an instrument that comes from Sweden and works in a way similar to the hurdy-gurdy except that you have to bow the strings instead of turning a wheel. I played that instrument on the song, “The Circle,” from Secret Voyage. So while also learning more about this music that I am so fascinated by, I’m now learning to play all of these instruments that were used when this music was first performed. The only instruments I can’t relate to are the woodwind instruments, and that’s where Candi comes into the picture. Anything to do with strings, I can get into. I played the cello for about seven or eight years, so it's easy for me to relate to the nyckelharpa. It’s a bit of a strange instrument, but when it’s played properly, it resonates so much with the soul. It sounds fantastic; it’s like hearing rock and roll guitar for the first time. I have a guy that makes my hurdy-gurdies, and I asked him what got him interested in the instrument. He said that he originally made guitars, but the first time he heard a hurdy-gurdy plugged into an amplifier, he said, “That was it! It was so breathtaking, I never made another guitar!” His name is Helmut Gotschy, and he is the chief maker of all of the German hurdy-gurdies for the medieval movement going on over there. It’s much more prevalent in Europe than it is here. If you go to a Renaissance gathering over here, they tend to simply strum Celtic music instead of offering something more representative of the era. It was very funny when I was first learning to play the hurdy-gurdy. My producer, Pat Regan, who is very good at patching things up, said, “Just play!” I was playing so many wrong notes, I was laughing my head off. But he said, “Keep playing, keep playing!” Out of that solo, he cut it up and made it sound like I could actually play the thing. He took out all of the crap and pitched a few other things, and I couldn’t believe it when I heard it.

NIGHT You should hear him play it in concert now. It’s amazing.

BLACKMORE I’ve got a handle on it now, no pun intended.

GW Had you ever tried to play any of these unusual instruments when you were in your teens or twenties? And did you every try playing the lute?

BLACKMORE No, this is all in more recent years. And I never related to the lute. From 1970 onward, the music that I was listening to the most was medieval dance music played by David Munrow and the Early Music Consort of London. They were playing the real stuff from the 1500s. What got me really entranced with that music was the woodwinds and the brass, not the guitars. The guitar took a backseat to a variety of other instruments in that era.

GW Many electric guitar players express an attraction to reed instruments and brass because the sound is produced by the breath, which enables one to achieve much greater sustain than that of a vibrating string.

BLACKMORE That’s very true. Jimmy Page told me once that he based many of his solos on sax solos, and, of course, therein lies the attraction to distortion. It is usually accompanied by increased sustain. What is so interesting, too, is that, when you start using these organic period-faithful instruments that I’ve become obsessed with, you can run into a lot of trouble trying to work in a synthesizer. Synthesizers tune perfectly, but with any organic, old-world instrument, especially shawms and hurdy-gurdies, they go in and out of tune constantly. When all of the old instruments are together, it works; throw in a synthesizer and you’re in trouble. I came to realize that having any synths or electronic keyboards on there would make everything sound sterile. To get the hurdy-gurdy in tune with the keyboard, it has to be pitched up digitally, and that just ruins the character of the hurdy-gurdy.

So in the studio, we’re torn between carrying the music through with just the organic instruments, or have a synthesizer and a bass; as soon as you have a bass, the music becomes “modern.” In the old days, they wouldn’t use a bass guitar, but they’d use a bass drum, which supplied just one or two pitches. As soon as you add a bass guitar, you go forward three hundred years.

NIGHT It's things like this that make us feel we are constantly being taught by this project. When we first started out, most of the instrumentation was done on synthesizer. Slowly, we started incorporating the organic instruments, and it was on Fires at Midnight [2001] that we started using the shawms. Suddenly, we were faced with, “Uh oh…how do we pitch this?” and “How do we triple-track it to make it sound big?” and “What effect can go on it that won’t make it sound like a synthesizer and will allow it to keep its organic sound?”

The next thing that happened was that we really wanted to get into the real instruments, so that’s when the hurdy-gurdies and the rauschpfeifes came along. And it’s easier when the two of us can play these different instruments, because we don’t have to call someone else to come over and do it.

BLACKMORE There are really only three people in the band, though onstage there are usually seven or eight.

NIGHT And we both play the hurdy-gurdy now. So it’s really a constant learning process, and each time we put a new album out, the songs pull us in some new directions. It never gets boring, because we are always learning something new.

BLACKMORE I’m always torn between making a track purely organic, with just shawms, lutes, mandolas and percussion, or getting into a highly produced thing, with a synthesizer used to create effects. Sometimes we fall down the middle, because we do both, like on “Locked in a Crystal Ball.” If you listen, there’s an electric rock and roll guitar in there; I’m playing my Fender Strat over a medieval song. That can be dangerous, because it could end up sounding so incongruous. If you try playing rock solos over a very strict melody that was written in the 1200s, you’ve got to watch it.

GW And that’s exactly what you ended up doing.

BLACKMORE That’s right, but we were in two minds with that tune. In the beginning, I was just playing mandolas and Candi was playing the shawms, and we were going to leave it like that. And we probably would have sold about two copies, to the purists only. But we thought, well, we’ve got a producer, let’s bring in all of the guns!

NIGHT And the next thing you know, we have 98 tracks! [laughs] And we end up saying, “What can we take out? It’s too much!”

BLACKMORE That’s one of my biggest dilemmas: Being that I’m so into the organic, old music, I sometimes don’t want to water it down to make it more palatable for a less adventurous audience, one that says, “Oh well, if I don’t hear an electric guitar, I don’t want to buy it.” Because there are times when an electric guitar will sound wrong.

NIGHT One of the songs from our Village Lanterne album is called “25 Years,” and Ritchie had recorded an amazing electric guitar solo for it. When he heard it back, he said, “You know what? It doesn’t call for a guitar solo, so let’s take it off and put a hurdygurdy solo on.”

BLACKMORE The older you get, the more you realize that the end result is so much more important than me showing off and playing exercises on guitar. But whether we are using period instruments or not, we are still approaching what we do with a musically creative attitude.

NIGHT There are so many brilliant bands out there playing this music in a purist style, and Ritchie loves listening to that stuff. It’s a part of what’s kept him so passionate about music. We like to draw from that inspiration and take the music to a new place.

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Mar 30, 2009

By Andy Aledort

Ritchie Blackmore.

Originally published in Guitar World, February 2009.