Cheers, David! This is great news for me
Happy New Year to you and Shirean, by the way!
I better don't go into what some of your posts give me at times...
Stormbringer74, you nailed it That's pretty much as it actually is.
Il vaut mieux en rire qu'en pleurer...
Grand bisous ..
Amazing track, mate! Fantastic guitar riff (and great sound too, by the way), great dynamics and middle-8 part! I love the Hammond in the back too as well as the overall groove, Simon.
I really like it. Well done! Keep it up!
I love the other tracks as well. Great vibe and great 70's classic rock feel. Really good songwriting, mate.
I partly agree to the above but not in everything, of course Tastes are different, luckily
Most underrated albums ...but in my opinion amazing records:
An incredibly versatile array of songs and you can really feel how much they were trying new things, reaching out to different musical areas and enjoying themselves. "Noone Came" is one of my alltime DP faves anyway and so is "Anyone's Daughter".
- Masters & Slaves
I can really repeat what I said in the thread about "underrated DP formations".
Even quite a few people will disagree to this, but I quite liked the MkV incarnation. Maybe because it somehow sounded as if they continued where they stopped with Rainbow and yes, it sounded more like Rainbow as DP but that doesn't mean it was a bad album. It has amazing songs on it and if more people would stop their pigeonholing approach to everything and everyone, they would clearly see this. This album has incredible music and is a joy for every AOR music lover. One can like JLT or not, but he has always been a top notch singer to me and a witty and smart guy when you talk to him as well.
MkI was a good and very much underrated band. I learned more about this when listening closer to the band's stuff and when I talked to Nicky Simper in Vienna a couple of times. The approach was a different one anyway. MkI DP was very much 60's sound, as you can easily notice when you listen to it. It cannot be compared with the start of the 70's and its beginning hard rock productions like "In Rock", of course.
To me, as to probably the majority of people in the world, Deep Purple is naturally MkII. This was the classic DP and the ones who made the name as what it is. "In Rock" is probably THE DP studio album for me. A milestone to this day, I think. "Made In Japan" is to me the greatest live album ever. I can listen to MIJ countless times (and certainly have already done so) without ever getting bored of it. It also helps you to really find out what Deep Purple is (and has always been) all about: The interplay of Jon & Ritchie and typical voice of Ian on that tunes of that time.
MkIII was a fresh and exciting experiment to me. They couldn't get Paul Rodgers, but David was never "second-best" to me. He didn't even try to fit into Gillan's shoes, he rather made his own footsteps. The deep, warm and soulful, bluesy voice of this "early" David is still outstanding to listen to. Listen to "Sail Away", "Soldier of Fortune" and "Mistreated" and you get chills.
It seems they really tried to put something extra to it and well, certainly tried to experiment a bit with different settings and elements, to give the music more color. To get Glenn was one of these "measures" for sure. Wether the "experiment" worked or not is in the eye of the beholder and depends on who you ask probably
However, I like "Burn" a lot and it was different than MkII (and I don't mean better or worse, just different), it was somehow fresh and the approach of having basically 2 lead singers brought some new element to it. If the successor, "Stormbringer", would not have been so funky and souly, the success of MkIII as a whole, could have been tremendously bigger, in my humble opinion.
MkIV was even more interesting and to me CTTB is definitely a GOOD album, but certainly not what I would call "my favourite Purple incarnation". I always thought CTTB was much better as it was received back in the day.
Strangely, the re-united MkII didn't do much to me. There was a lack of power and inspiration in that one. It seemed like as if it happened only for the money. I found the music of Rainbow and to what Blackmore had developed the band, much more appealing and there were a lot who thought that he would have rather continued with his own band instead of this MkII reunification. But well.
Even quite a few people will disagree to this, but I quite liked the MkV incarnation. Maybe because it somehow sounded as if they continued where they stopped with Rainbow and yes, it sounded more like Rainbow as DP but that doesn't mean it was a bad album. It has amazing songs on it and if more people would stop their pigeonholing approach to everything and everyone, they would clearly see this.
For the rest of the band versions: Steve Morse is a great musician and a funny and kind bloke and the musical talents of Don are unquestionable too, but to me these incarnations of recent Purple are more like a bunch of great musicians "playing Deep Purple songs". It is no spark in there anymore. The key musicians of Purple have left anyway. Lord & Blackmore. They just try to maintain. That's all they do and as long as the Dollar comes in, they will continue to do so, I'm afraid ...
Well said, Scott. I see it pretty much the same way. While for most of the others it was clear from the start that this was going to be just an occassional project, it was also obvious that Glenn wanted it to become a bit more than this. Being 60 now, one doesn't have that much time and many chances anymore as with 35, like Joe, but I think this was clear for many observers anyway, as far as I heard. Joe is right in the middle of his momentum now and to push his solo career even just a bit less would be the biggest mistake he can do. He is smart enough to know that, of course. Musically, Glenn doesn't need "crutches" anyway. The "crutches" only might help in the degree of attention you might receive. That's all and even this is not for sure. The "using X as a vehicle" thing does hardly work out anyway and it never did in the past too, as we all know. I hope Glenn realises that he can't force things and that he must take it as it comes, one day at a time and in the meanwhile he can do for what he needs noone else for: Creating superb music by himself and under his own name. The fans do love him for that. Not for the number of headlines in certain print magazines or for the number of TV appearances. They love him for the music.
Great read indeed! Cheers, Paul! As always you provide excellent material, mate.
Signed as well. Thanks for the hint, mate. We all wish and hope that Jon will be fine again, first and foremost. His impact on music (and also his impact on players) was and still is immensely.
Get well, Jon. You deserve it.
Yes, I can understand you completely, Sigurd. Blackmore is Blackmore and it is hard or even impossible to compare someone with him, playing-wise and even more composer-wise. Beside all that, that certain "image" that many people still have in their heads (and the disliking of it), is not even close to how he really is. None of these people who bash on him have met him in person, so its usually 3rd hand information. The real Ritchie Blackmore (even if he may have been a bit wilder in the 70's ...but who was not?) is far from that image. He is a very witty, soft-spoken man who knows what he wants. Far from the "monster" that many think he is. Its just ridiculous, trust me.
When people compare them, well, to compare Blackmore with Bolin, is like comparing apples with oranges. You just can't do that. Tommy comes from a different musical background, has other preferences and a whole different style of playing, technically and harmonically as well. Same as you can't compare Steve Morse with Blackmore as well.
Tommy was an amazing player when he felt comfortable and he wrote some really musically beautiful stuff. I always recommend everyone to listen to his solo albums. These are no albums of a guitar hero. These are albums full of beautiful songs, with many interesting bits and pieces here and there and a very soft voice as well. A great musician.
Although not the best for Purple, as well as Gallagher would not have fit to Purple too (as it was discussed to ask him as well back then).
Do you know who I always could have imagined in Purple? A real successor for Blackmore?
Similar to Blackmore in writing style and playing style as well, similar personality, strong personality, exceptional gifted and talented player and composer and surely strong enough to fit in Blackmore's shoes AND to make his own footsteps.
Unfortunately, this will never happen anymore anyway.
With Gary we lost one of the very greatest. Greater, than most people do realise.
Speaking about CTTB, I must say that I am not a fan of the remix by Kevin Shirley. Maybe it is also because I was used to that album for so long (in the way it originally sounds). I always considered CTTB as having a brilliant sound by default already, maybe one or THE best sounding Purple record from back in the day. Strong bass by Glenn (btw, the bass sounds very similar and the drums too on Jon Lord's "PAL", Paice-Ashton & Lord, simply because it was recorded in the same studio, Musicland in Munich, now defunct), amazing drum sound (and probably some of Ian's best drumming at all) and a great guitar sound as well.
Just like John, I must say that for me there is a bit too much compression. But that is just personal taste, of course.
However, in my humble opinion I don't see much sense in all this "remixing fashion" anyway, except of a good way to earn some additional revenues (which probably have been lost in the regular sales figures of record companies).
Why not just leaving something, some piece of art (which music is), just as it is?
Why not taking it as a document of its time and cherish it in the way it has always been there?
Would someone come to the idea to rewrite Shakespeare's MacBeth, just to make it "sound more modern"? Certainly not.
I'm sorry but to me a record from 1973 is what it is: A record from 1973. And not something some freaks have fumbled around with, some 30 years later. As well as you are usually not allowed to change words in a writers transcript, you are not allowed to change "notes" in a musical piece. The "mix" of it, as being part of the final result of a song, is part of that too.
But this is just my personal view on that. People can agree or disagree. There are 7 billion people and probably 7 billion views on it. And each of them knows best...
Well, it can also just mean that its still wrapped and packed (maybe packed in foil) since back then and never opened and/or used. Still, the price is a bit over the top though ...
Not bad at all! Really! The singer has a decent voice and the mix is very much "in your face" which I like. Muscular bass as well A bit less reverb on the drums & guitars would probably be fine, but hey, its awesome, Sigurd. Habt ihr wirklich klasse gemacht
I tend to agree, my friend
Another thing we would see is what you can see at pretty much every WS gig: A real mob of gals in their 40's & 50's
Insane ....but its one thing to demand a price and another thing to find a chap who's able and willing to pay it ...
You are definitely not, mate
Thanks Chip! I know
Not to forget David Stone on keyboards, who was later in Rainbow and who is featured on the DVD and live album which came out a couple of years ago, which was recorded in Germany in 1977 (Live in Munich).
Fantastic player in my humble opinion and an outstanding piece of music.
Thanks to Todd too
Yvonne, isn't it Angus who is more into school uniforms?
I would like to ask a question as well. Glenn, how about inviting David (Coverdale that is) as a special guest for your next (rock) album? I think it would not only be a good idea at all but also it could be a good business move, regarding the markets, to do so. It could draw some Snake fans towards Glenn and BCC and would be also something that many fans would die for to see, respectively to hear
He deserves it anyway, as Glenn is a remarkable bass player as well and not only a great singer. This is often overlooked by people who are staggered by his phenomenal voice in the first place.
Especially BCC features a lot of first class bass playing, if you listen closely to it. He has always been heaps superior to peeps like Roger Glover and the likes. "Play Me Out", for instance, shows a lot of amazing bass playing as well. I also like it that Glenn pulls out the guitar as well in recent years and, despite not being a "guitar-god" for sure, he does it remarkably well.
Well done and congratulations, Glenn!
Marc said it all, already. That's precisely how it is. As a musician (or an artist in general), you are not living in a vacuum. You have to see what the market is doing and to react. Glenn and Joe brought out something, a brand, called BCC and this moniker stands for classic hardrock and it draw a lot of people who actually bought the record and many of them saw or heard Glenn for the first time. The reason they bought BCC is that they love this type of music and when they slowly get to know Glenn, they will see that he can embrace it all, funk, soul, blues, jazz, even near-metal-like heavy rock (Mollo projects). But it is the absolutely right move now to continue in that kind of vein, also with his solo record. Anything else would rather confuse the new fans and would possibly turn them away, but as potential new longterm fans, we have to get them slowly aquainted with the whole bandwidth of Glenn's music.
Beside that, I think Glenn can very well decide for himself what direction he might wanna choose, as he is home in all of them, as we all know.
Diversity is an ADVANTAGE and not a weakness, even many still don't get this. I see this in my friends circles too. Some people just don't get how I manage it to listen to Metallica, Madonna, Abba, Al di Meola, Mike Oldfield, Beyoncee, King Crimson and Symphonic Slam at the same day. To me, as to any real music fan, this is no contradiction at all.
Musicians don't draw these "borderlines" or "limitations", its always the fans first and foremost.
Also a musician wants to develope and to not repeat himself over and over again. Stagnation is going backwards. Another thing many "fans" don't get.
However, Glenn speaking about "funk for the more cultural audience" does not imply that the other groups, the rock-fans, are "not" cultured or low-lifes. He just meant it in a way of that being a bit more sophisticated music, which is what it is.
I for one do like whatever Glenn puts out and its also clear that he can't please everyone. We all have our favourite albums among Glenn's incredible back-catalogue and also have our "non-favourites" as well. No drama at all. We are all human beings. All different. Luckily
Yvonne, luckily you don't have to do that anymore What a drain! LOL!
This whole vintage and/or roadworn instrument sector is growing into a real market, even it can be a bit silly at times. Sure, it looks cool, but apart from that it doesn't justify the pricetags they often put on those.
Chris, I once read that Rory's Strat looked like this also due to his overly aggressive kind of "sweat". No idea if this is truth or myth though.
Speaking about him, a few months ago I finished reading "Riding Shotgun" by his longtime bassplayer Gerry McAvoy. A fantastic read as well. Highly recommendable.
Thanks, Stormy That's what I thought too. It looks like the next album could in be that kind of vein again and so I'm really looking forward to it!