Episode 334 – Deep Purple – Nobody’s Perfect

Link to video episode on YouTube: https://www.youtube.com/watch?v=ICf2iq_w2_Q

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Album Tracks:

1988 CD Release – https://www.discogs.com/release/634373-Deep-Purple-Nobodys-Perfect

  1. Highway Star
  2. Strange Kind of Woman
  3. Perfect Strangers
  4. Hard Lovin’ Woman
  5. Knocking At Your Back Door
  6. Child In Time
  7. Lazy
  8. Black Night
  9. Woman From Tokyo
  10. Smoke On The Water
  11. Hush

1988 2 LP Release – https://www.discogs.com/release/2816738-Deep-Purple-Nobodys-Perfect

1999 2 CD Release – https://www.discogs.com/release/3422631-Deep-Purple-Nobodys-Perfect

Disc 1:

  1. Highway Star
    • Recorded in Irvine Meadows, California on 23 May 1987
  2. Strange Kind of Woman
    • Recorded in Irvine Meadows, California on 23 May 1987
  3. Dead or Alive
    • Recorded in Milan, Italy on 4 September 1987
    • Not on original CD Release
  4. Perfect Strangers
    • Recorded in Irvine Meadows, California on 23 May 1987
  5. Hard Lovin’ Woman
    • Oslo, Norway on 22 August 1987
  6. Bad Attitude
    • Recorded in Phoenix, Arizona on 30 May 1987
    • Not on original CD Release
  7. Knocking At Your Back Door
    • Recorded in Phoenix, Arizona on 30 May 1987

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Disc 2

  1. Child In Time
    • Recorded in Oslo, Norway on 22 August 1987 and Recorded in Phoenix, Arizona on 30 May 1987??
  2. Lazy
    • Recorded in Phoenix, Arizona on 30 May 1987
  3. Space Trucking
    • Recorded in Oslo, Norway on 22 August 1987
    • Not on original CD Release
  4. Black Night
    • Recorded in Oslo, Norway on 22 August 1987 and Recorded in Verona, Italy on 6 September 1987?
  5. Woman From Tokyo
    • Recorded in Irvine Meadows, California on 23 May 1987
  6. Smoke On The Water
    • Recorded in Oslo, Norway on 22 August 1987
  7. Hush

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Episode 333 – Funky Junction

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  • Letter from Connecticut about Chicago business leaders!
  • Package from Jeff Breis!
  • Made in Japan socks!

History:

  • This band was put together for the express purpose of recording this one album.
  • The man behind the idea was a German businessman, Leo Muller. The name was actually an alias used by Dave Miller who was a record producer who ran a number of budget music companies. He was actually an American.
  • His budget label was called Stereo Gold Award and he also did an album called “Tribute to Jimi Hendrix by The Purple Fox.”
  • Muller got in touch with Thin Lizzy to do the project.
  • The group did not want to do the project as they were trying to make Thin Lizzy their own thing but they were also desperately in need of money.
  • Phil Lynott decided that he wasn’t able to sing like Gillan and decided to only play bass and do backing vocals.
  • The result was that they recruited a singer, Benny White, from the Dublin-based group Elmer Fudd as they were known for doing Deep Purple covers at their shows.
  • Brian Downey called Benny White “an Ian Gillan clone.”
  • Thin Lizzy had no keyboard player so Elmer Fudd’s keyboard player Dave “Mojo” Lennox  jumped in.
  • The band members were paid 60 pounds a day to travel in to De Lane Lea in London to record the album.
  • Brian Downey recalls that the rehearsals for recording took about “Two or three hours” before the full day recording session.
  • Thin Lizzy were paid 1000 pounds for the recording but their names were not included on the album.

Core Band:

Album Art & Booklet Review

  • The band pictured on the cover is not Funky Junction as they never played live. Instead they used a concert photo of the band Hard Stuff featuring John Gustafson.
  • In Germany the album was called “The Rock Machine Plays the Best of Deep Purple.
  • The album was sold at Woolworths for 50p.

Notes

MER373 seen on sleeve and spine, MER 373 seen on labels. Yellow labels – on this version the ‘Made in England’ is directly below the publisher credits (there is another UK version where the text is at the label rim).

Text on back cover of LP:

Funky Junction are an exciting new group that has the pulse of today. In this tribute to Deep Purple, they play many of Purple’s hits. UK and world wide audiences are acclaiming them for the great group they are.

FUNKY JUNCTION – THE SOUND OF TODAY!

Both disc and sleeve made in UK/England.

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Picture of Ian Paice and Roger Glover looking at the Funky Junction album with Pace Ashton Lord in the bin in front of them. Is it real? Is it fake? Who knows!

Album Tracks:

Side One:

  1. Fireball
  2. Dan (Leo Muller)
    • A take on the Irish traditional “Danny Boy.”
  3. Black Night
  4. Palamatoon (Leo Muller)

Side Two:

  1. Strange Kind of Woman
  2. Hush
  3. Rising Sun (Muller)
    • Instrumental version of “House of the Rising Sun.”
  4. Speed King
  5. Corina (Muller)
    • Based on traditional Irish tune “Corrina, Corinna.”

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Muller would go on to use the name Funky Junction as a band name for another album in 1973: “Especially for You… credited to Gladys Knight & the Pips featuring Funky Junction.

Reviews

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Episode 332 – Made in Japan (Steven Wilson Remix)

Link to video episode on YouTube: https://www.youtube.com/watch?v=k2ZigsyT1jY

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Nate on CNN

Discussing the Made in Japan Remix, Stranger Things, and the upcoming Rapture of the Deep Remix.

https://www.cnn.com/2025/08/16/entertainment/video/hollywood-entertainment-music-podcasts-stranger-things-deep-purple-made-in-japan-rapture-of-the-deep-reissues

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    • Keep up the good work. I love the show!
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    • No worries! I wanted to upgrade because I truly love the content you guys continue to provide. It is fun to listen to DP fans here in the United States (other than me and my brothers) talk about their legendary albums and everyone else they influenced. Keep up the great work with you and John. Like Ritchie, I’ll continue to look out the window while everybody else gets run over by a car looking at their phones 😆! Maybe Bob Dylan will walk up to me and ask me, “Hey, who the he’ll are you?” Have a great rest of summer for you and John!
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    • Hey y’all! I’m new ’round these parts! My name is Leigh and i’m from Ontario, Canada around 2 hours northeast of Toronto (kinda between Toronto and Ottawa). Been a Purple fan since around 1985 when the current album Perfect Strangers was a soundtrack in my childhood home. Before that time “Electric Avenue” was my jam. I dug in further when i got my fisher price record player in 1986 and inherited my mom’s old record collection. Only three albums were of interest to me, Machine Head, Shades Of Deep Purple and The Lamb Lies Down On Broadway. I also had Supertramp “Crimes Of The Century” and it became a frisbee after first listening.
    • Fast forward to last year and i was looking for a non true crime podcast to listen to and my first thought was a music podcast and my #1 band of all time was the first thing i searched for. Took me about 6 months to get caught up and needless to say, i’m a huge fan. I’ve learned a ton and appreciate all the time and effort it must take to produce something so well done. Anyways enough of me, thanks for doing what you do!

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  • Ralphie coming to us from Europe!
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History:

Press Release

(June 18, 2025 – Los Angeles, CA) On August 15, 1972, Deep Purple took the stage in Japan for the first of three shows that would give rise to one of rock’s most celebrated live albums, Made in Japan. Today, Warner announces a new Super Deluxe Edition of the landmark release, due out August 15—exactly 53 years after the first performance was recorded.

Made in Japan (Super Deluxe Edition) features new stereo and Dolby ATMOS mixes of the original by acclaimed producer Steven Wilson, all three concerts newly remixed by Richard Digby Smith, and several rare single edits. It will be released as a 5CD/Blu-ray set at retailers nationwide, and a 10LP black vinyl edition, available exclusively from www.deeppurple.com and Rhino.com. Pre-order HERE.

A 2LP black vinyl version of Steven Wilson remixes will be available on August 15 and October 3 in the U.S., Canada, and Japan at select independent record stores. The digital companion will be available everywhere on August 15.

Originally intended as a Japan-only release, this double live album became a surprise global phenomenon. Released in the U.K. in December 1972 and in the U.S. the following March, Made in Japan went platinum in America and several European countries.

Singer Ian Gillan, guitarist Ritchie Blackmore, keyboardist Jon Lord, bassist Roger Glover, and drummer Ian Paice—Deep Purple’s famed Mk II lineup—turned studio staples like “Smoke On The Water,” “Highway Star,” and “Space Truckin’” into explosive live statements. “We came halfway around the world and found the audience singing every word. It was magical,” Glover recalls in the collection’s liner notes.

The band enlisted engineer Martin Birch—who had worked on several of their best-known studio albums—to record the shows to eight-track tape at Festival Hall in Osaka and the Budokan in Tokyo. The performances on Made in Japan (Super Deluxe Edition) capture Deep Purple at full throttle, powering through songs from their then-new album Machine Head, along with fan favorites like “Child In Time,” “Strange Kind Of Woman,” and “Speed King.” The collection also includes rare single edits, like the German version of “Black Night” and the Mexican edit of “Space Truckin’.”

The live album garnered widespread critical acclaim, with Rolling Stone declaring it “Purple’s definitive metal monster, a spark-filled execution of the typical Purple style.” This recognition led to its impressive ranking at No. 6 on their “Readers’ Poll: The 10 Best Live Albums of All Time.” AllMusic also praised the album, stating that “Deep Purple pushed its music into the kind of deliberate excess that made heavy metal what it became.” Additionally, the album achieved commercial success, landing at No. 6 on the Billboard 200 chart.

Wilson harnesses the raw energy of the original tapes in his new stereo and Atmos mixes. “It’s all completely as it happened on the night,” he says. “The album has a power and sense of abandon that they never quite captured in the studio. Hopefully this new mix makes it feel even more like you’re there.”

(MANDATORY CREDIT Koh Hasebe/Shinko Music/Getty Images) Deep Purple at Nippon Budokan, August 17th, 1972. (Photo by Koh Hasebe/Shinko Music/Getty Images)

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Setlist

  • Highway Star
  • Smoke on the Water
  • Child in Time
  • The Mule
  • Strange Kind of Woman
  • Lazy
  • Space Truckin’
  • Encores varying by night

August 15, 1972

August 16, 1972

August 17, 1972

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    • David Hattam
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Episode 331 – Ian Gillan at 80

This week’s episode is BANNED on YouTube. Video available on Patreon for Patrons only!

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    • I really love the content and music you guys cover. I’m a die hard DP fan and I am always surprised how big the DP family tree is thanks to you guys. I’ll be releasing a few Ian Gillan covers for his 80th birthday coming up on Spotify. Are you guys going to do a birthday episode for Uncle Ian 😆?

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Updates, Live Show Reviews & News:

  • Nate is the oldest person at The United Center in Chicago as he attends the Tyler, The Creator show!

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  • Ralphie goes TRANSATLANTIC??

Influences and Early Years

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Episode 330 – Dio – Sacred Heart

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Postcards From The Edge . . . OF CONNECTICUT!

  • Ralphie Round Up

History:

  • Of the album Ronnie said, “I think musically we’ve certainly progressed, and I know we’re all very proud of what we’ve done. To me, it’s taken what we’ve achieved on the first two albums to a new level.”
  • “We live in a world that’s got enough bad situations happening,” he said. “Do people want to be reminded of what’s wrong in their lives through the lyrics to a song? I don’t believe so. So, my words have a lot to do with the imagination, and offer escapism.”

Core Band:

Technical:

Album Art & Booklet Review

  • Artwork [Original Concept] – Ronnie Dio*, Wendy Dio
  • Design – Jeri McManus
    • https://www.smogdesign.com/
    • Has done work on over 300 album covers including Ric Ocasic, Chaka Kahn, Paul Simon, The Time, Madonna, and many, many more.
  • Design – Steve J. Gerdes*
    • http://www.stevegerdes.com/
    • Worked on covers for Depeche Mode, Rough Cutt, Black Sabbath (Seventh Star), Smashing Pumpkins, Janet Jackson, and many more.
  • Illustration – Robert Florczak
    • Only a few other album covers including mostly classical releases.
  • Photography By – Gene Kirkland
  • Photography By – P.G. Brunelli
    • Did photos for Iron Maiden (Number of the Beast), Samson, Thin Lizzy, Yngwie Malmsteen, and more.
  • Typography [Hand-lettering] – Margo Chase
  • The inscription around the border is Latin reading:FINIS PER SOMNIVM REPERIO TIBI SACRA COR VENEFICVS OSTIVM AVRVM
    • This could translate as:
      • Along the borders of dreams I found for you the sacred poisonous heart and golden door
      • comes the end by sleep I will prepare the sacred heart which is the magic that opens upon the altar
  • Booklet is divided into three sections:
    • Those who created
    • Those who labored
    • Those who supported

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Album Tracks:

Side One:

  1. King of Rock and Roll (Dio, Appice, Bain, Campbell)
    • Recorded in the studio with audience effects added after.
    • The liner notes in the 2012 release say that the “King of Rock and Roll” was written about Ozzy Osbourne.
  2. Sacred Heart (Dio, Appice, Bain, Campbell)
  3. Another Lie (Dio)
  4. Rock ‘n’ Roll Children (Dio)

Side Two:

  1. Hungry for Heaven (Dio, Bain)
  2. Like the Beat of a Heart (Dio, Bain)
  3. Just Another Day (Dio, Campbell)
  4. Fallen Angels (Dio, Appice, Bain, Campbell)
  5. Shoot Shoot (Dio, Appice, Bain, Campbell)

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • The album was released in August of 1985.
  • The album earned gold certification on October 15, 1985. It was the last Dio album proper to receive a gold ranking. Later the compilation “The Very Beast of Dio” would earn gold in 2009.
  • Reached number 29 in the US charts selling 500,000 copies.
  • The first three albums were re-released as special editions in March of 2012 with bonus tracks.
  • Of the album Appice said, “I don’t think the songs were as heavy on the previous two records. But that said, it still was a great record.

Reviews

  • The Rolling Stone Album Guide. Random House. 1992. p. 198
    • 1 star (out of 5)

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Episode 329 – The Flower Pot Men

Link to video episode on YouTube:  https://www.youtube.com/watch?v=i7YqUnbIa-A

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  • Ralphie, Ralphie, Ralphie

History:

  • The band was formed in 1967 after recording the hit single “Let’s Go To San Francisco.”
  • John Carter and Ken Lewis of The Ivy League formed the group.
  • In the summer of 1966 Brian Wilson decided to stop touring with The Beach Boys to focus on studio work. The Beatles made the same decision. John Carter decided to do the same.
  • The new bandleader for The Ivy League decided to replace several members so John Carter recruited them into his new project The Flower Pot Men.
  • John Carter partnered with other songwriters on a project called The Ministry of Sound which wrote the song “Time and Motion Man” later recorded by Episode Six.
  • With Lewis Carter decided to write “Let’s Go To San Francisco” after reading about so much of the bands from the West Coast of the United States along with the whole scene that was developing at that time.
  • The single for “Let’s Go To San Francisco” was released in August of 1967 and had to be split over two sides of the single. The single reached #4 in the UK charts.
  • To be played in the US the band had to be called The Flower Pots to avoid the reference to drug use.
  • At the time there was a lot of controversy over The Monkees not performing on their own albums so attention was put on The Flower Pot Men who had really recorded it as members of The Ivy League.
  • John had been lead singer on the track but refused to do any live performances. Live the singers included Tony Burrows, Neil Landon, Robin Shaw, and Peter Nelson.
  • Backing the singers was a band called The Sundial which consisted of Jon Lord, Nick Simper, Ged Peck, and Carlo Little.
  • “The eight of us soon gelled into a slick, confident act, with each show being better than the last”, claims Simper. “The opening song was always The Four Seasons’ ‘Let’s Hang On’, with Tony Burrows hitting Frankie Valli’s high notes with ease, followed by various songs by The Four Tops, The Beach Boys and Wilson Pickett. Of course, the hit song ‘Let’s Go To San Francisco’ was always a showstopper.”
  • This lineup recorded a couple of the sessions for the newly branded Radio 1 featuring this lineup.
  • Nick Simper and Jon Lord’s first gig with The Flower Pot Men – 22 September 1967 –  Broken Wheel, Retford (Derbyshire Times/Retford Times) (FIRST DOCUMENTED)

The Flower Pot Men: Midsummer Dreaming – An Anthology 1967-1970, 3CD Digipak

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Band & Tracks

Let’s Go To San Francisco Parts 1 and 2 (original mono version) 

The single that started it all.

The following are 5 tracks recorded live on the BBC featuring Jon Lord, Nick Simper, Carlo Little, and Ged Peck.

The Sundial featuring Ged Peck, Carlo Little, Jon Lord, and Nick Simper

13 Let’s Go To San Francisco* BBC session

14 California Dreamin’* BBC session

Mamas and The Papas

15 Flowers Never Bend With The Rainfall* BBC session

Simon & Garfunkel Cover

https://en.wikipedia.org/wiki/Flowers_Never_Bend_with_the_Rainfall

16 Don’t Worry Baby* BBC session

https://en.wikipedia.org/wiki/Don%27t_Worry_Baby

Beach Boys Cover

17 A Walk In The Sky* BBC session

Original song written by John and Ken as the follow up to “Let’s Go To San Francisco”

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Reception and Charts:

  • February 24, 1968 – Nick Simper and Jon Lord’s last gig with The Flower Pot Men (??) California Ballroom, Dunstable (LAST DOCUMENTED). Less than two months later they’d be playing their first live show with Deep Purple billed as Roundabout in Denmark.
  • John Carter had written the song “Beach Baby” with his wife Gillian Shakespeare and recorded it with his group First Class.
    • “Now on American Top 40, I have that song that was launched by a criminal act, an act that could have cost the owner of a British record company at least a stiff fine [sic]. He’s also a recording artist, Jonathan King. He’s known to Americans as the guy who hit back in 1965 with ‘Everyone’s Gone to the Moon‘, remember? Well, since then he’s become a successful producer in England, and he started his own label a couple of years ago. Last year, during the United Kingdom’s severe energy crisis, a songwriter came to Jonathan’s house with a master tape of a new song that he’d just recorded, but he’d come on a bad day of the week. You see, it was a day when Britons were prohibited from using electricity because of the power shortage. But something told King to take a chance. He invited the artist to come in, and, in a room lit only by candles, keeping the volume turned way down, he listened to that tape, and he knew he’d bought a hit song. Here it is, up to #25 this week, ‘Beach Baby’ by First Class.”
    • The song contained two instrumental passages, the first from the composer Sibelius, the second a direct quote from “Let’s Go To San Francisco.”
    • The single version of the song was almost 5 minutes long so most stations faded it out before the instrumental break in order to shorten it and to avoid the legal action that was being taken against Carter from the Sibelius family which would end up giving half of the proceeds from the song to the estate.
  • Beach Baby
  • https://open.spotify.com/track/5J74pF4Nn86qyLQihpkXq4

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Episode 328 – Jerusalem

Link to video episode on YouTube:  https://www.youtube.com/watch?v=KqXJEKLAqzU

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Postcards From The Edge . . . OF CONNECTICUT!

  • More from Ralphie’s world travels!

Lead up to the Album:

  • Paul Dean was the brother of Zoe Dean who was Ian Gillan’s girlfriend for about 10 years from 1969 to 1978. Zoe took Gillan home to stay with the family and Paul Dean said he played Gillan the first Black Sabbath album which he heard for the first time.
  • Dean said that Zoe was managing them and Gillan asked to take a listen to their music. He then took over management of the band.
  • In an interview with Pyschadelic Baby Magazine, Paul Dean said:
    • In 1967 when Ray and I were 16 and still at school we went to see John Mayall and the Bluesbreakers and were absolutely blown away with a form of music we had never heard before. The next day we decided to form a band along with another friend Chris Skelcher. None of us had ever played an instrument before, Ray took drums, Chris guitar and I took bass and vocals.
    • None of us had any major influences, so we actually learnt how to play as we went along. I started writing as we decided we didn’t want to do any covers and liked the idea of creating something of our own that was a bit different. We practised at every opportunity and did part time and holiday jobs to pay for equipment. Our only focus was the band.
    • No, none of us had ever touched an instrument before or had done anything musical. Even when Ray and I brought in Bill, Phil, Bob and Lynden at different times, none of them had actually been in another proper band. All performing virgins. The first recording we ever did was when Ian brought Roger Glover to Salisbury to do some recording on Rogers newly acquired Revox 2 track. Don’t know what happened to the tapes. Phil was the singer at this time.
  • Gillan had newly formed “Pussy Music” and “Pussy Enterprises.”
  • In 1972 the band was given 2 days to put something together for release and that is when they wrote and recorded a single, Kamikazi Moth.
  • For the album they stayed with Ian Gillan in Pangbourne and commuted into London daily to record at Ian’s Kingsway Studios (formerly De Lane Lea).
  • Gillan, in a 1972 interview with Record Mirror:
    • “My interest has been in an advisory capacity,” said Ian. “I didn’t so much produce the album as simply advise on a few technical problems and make some suggestions. I came across the band at a time when they were trying to get a record deal together and were in a state of confusion.
    • “In some ways its a nostalgic thing for me because I see them going through the same kind of problems and transitions that I did in the early days, before Episode Six even, when I was playing with little local bands in Hayes, Middlesex. I’ve always regretted that I never had any record of those early efforts because there was something about the brash enthusiasm of an early musical birth that you never recapture.
    • “I don’t want to give the impression that these boys are novices because they are not. They started playing almost as infants at school five years ago when Paul met up with Ray Sparrow and got a band together and later at college they met Bill Hinde and Bob Cooke.
    • “More recently they`ve brought in a new singer, Lynden Williams, and he has just the right kind of dramatics and vocal ability that convinced me that he had what it takes.”
  • From the same interview:
    • “Mind you,” he said. “I don’t care what anyone says it is the sole aim of any support band to blow the top of the bill off the stage and if anyone had got a ‘clapometer’ together I think ‘Jerusalem’ would have taken a few points off some of the bands they’ve worked with recently like Medicine Head.
    • “I don’t think we should give the impression that we go in with that attitude though,” said Paul guardedly. “I mean we found a group billed below us on a recent bill and I felt just a little embarrassed. It’s competitive without being cut-throat.”
  • From the album liner notes (by Ian Gillan):
    • This is the first album by Jerusalem, a band which excites me very much, they are rough, raw and doomy with their own strong identity. As they are young and a bit green, they don’t follow many rules, so their material is almost crude–-but still immensely powerful in content.
    • I believe that, whenever possible, the work of writers and players in their formative stages should be recorded; before inhibition and self consciousness set in, before fire and aggression die down, and while they are still absorbing influences and doing things which others might consider uncool. Most important though, before they might develop that self imposed rigidity which afflicts so many. I hope none of these things happen to Jersusalem, we’ll have to wait and see, this album is just in case.
    • I hope you like it as much as I do.
      • Ian Gillan.

Core Band:

Technical:

Album Art & Booklet Review

  • Design [Front Sleeve], Guitar [First] – Bob Cooke
    • Paul Dean: “Yes, it is now considered a great cover. Bob Cooke came up with the idea and painted it (think his original is an oil painting). It is not meant to be religious in any way whatsoever, just something powerful that implies fighting and reaching out for your future, whatever it may be. Nothing comes to you in this life, you have to get out there and make waves!”

Notes

Released on a brown/white Deram label in a gatefold cover.

This release has a single pressing ring @ 32mm.

Rim text (@11:00 o’clock position), reads: “Made In England By The Decca Record Co. Ltd.”

“XZAL” stamped in runouts are Decca’s record format indicator for a ‘stereo’ recording.

“1W” stamped in runouts indicate Decca’s in-house mastering was performed by Harry Fisher.

All of these characteristics denote a Decca Record Co. Ltd., Pressing Plant, UK. release.

First pressing. Repress on red label Jerusalem (4) – Jerusalem

Laminated with ‘Clarifoil’ made by British Celanese Limited

℗ 1972

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Album Tracks:

Side One:

  1. Frustration
  2. Hooded Eagle
  3. I See The Light
  4. Murderer’s Lament
  5. When The Wolf Sits

Side Two:

  1. Midnight Steamer
  2. Primitive Man
  3. Beyond The Grave
  4. She Came Like A Bat From Hell

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Album was recorded in 1971.
  • From the best that we can tell the album was released on March 24, 1972.
  • Though there is an interview with Ian Gillan talking about “making the record” that was released in Disc & Music Echo from January 29, 1972.
    • In the interview Ian says: ““I made the record because they are bloody good and it seems a shame for their sound not to be recorded… right now there’s a rawness and excitement…”
  • “Sledgehammer-heavy masterpiece of underground British rock!” —Classic Rock Magazine
  • “Big fat chords, wailing guitar, punch-drunk bass and straight-ahead solid drums all strutting in your face like some massive guy you just don’t want to f**k with.” —Head Heritage
  • The album was re-issued 1993 on CD for the first time in Germany.
  • There was a 2014 remaster and reissue as well.
  • It was again reissued in 2021 on opaque black vinyl, opaque blue vinyl, translucent red vinyl and finally 100 copies of a translucent green vinyl by Rockadrome.
  • Bob Cooke and Lynden Williams went on to be in Zorbonauts with Geoff Downes and others.

Reviews

  • From the interview in Record Mirror:
    • Ian hit out at some of those critics who do not seem to care about anything formative or cannot necessarily compare to the technical proficiency of more experienced and qualified musicians.
    • “I really feel some of these critics who cannot accept the fact that so called ‘heavy music’ has now become pop music by virtue of the fact that it is popular are writing with their heads in the sand,” he said.
    • “Why is it that some writers seem to adopt this position that nothing can ever be any good if it is widely accepted and why is it that some bands like Black Sabbath seem so anxious to put down the young people who come to their concerts and refer to them disparagingly as `teenyboppers’.
    • “How would you like to be called a ‘teenybopper’ just because you happened to be young and like bands that retained some essence of vitality. That’s just something else I can’t understand.
    • A band is hungry so it becomes good out of that hunger. It gets recognised and successful then throws the acceptance back in the faces of the people who made them. It just doesn’t make sense.
    • “Critics who are not prepared to encourage new talent and make some kind of allowance that no band becomes as good as those who are on top immediately are doing no good to themselves or the business that feeds them. They slam a show which maybe 5,000 people dug and the unfortunate thing is that maybe a quarter of a million people read the review!”
    • All bands like ‘Jerusalem’ want is a chance to prove themselves and Gillan is doing his bit to lend a hand. More established artists with his attitude would be no bad thing.

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Episode 327 – Deep Purple’s Rarest Live Tracks

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Deep Purple’s Rarest Live Tracks

List of Deep Purple tracks played live:https://www.setlist.fm/stats/deep-purple-3bd6acc8.html

Songs Played 1 Time:

Songs Played 2 Times:

created by photogrid

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Episode 326 – Michael Schenker Group – Assault Attack

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  • From Germany!
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Lead up to the Album:

  • Reportedly after returning from the Japanese tour (where they recorded the live album “One Night At The Budokan”) Cozy Powell and Peter Mesch (the band’s manager) announced that they wanted a better singer for the band. They suggested David Coverdale but Schenker had his mind made up that he wanted Graham Bonnet.
  • It’s thought that this and other disagreements were the reason that MSG and Mensch parted ways.
  • In February of 1982 Bonnet joined the band. Powell and keyboardist Paul Raymond left the band after this and were replaced.
  • After being together for about 4 months the band went to France to record the album at Château d’Hérouville (also referred to as Honky Château)
    • https://en.wikipedia.org/wiki/Ch%C3%A2teau_d%27H%C3%A9rouville
    • Elton John Recorded three albums here “Honky Chateau” “Don’t Shoot Me I’m Only The Piano Player” and “Goodbye Yellow Brick Road”
    • Rainbow recorded “Long Live Rock and Roll” here.
    • The studio closed in 1985 but reopened in 2020.
    • Martin Birch did this session immediately after completing “Number of the Beast” with Iron Maiden.

Core Band:

Additional Musicians:

  • Keyboards – Tommy Eyre
    • Tommy Eyre was the replacement for Paul Raymond for the recording of the album.

Technical:

  • Producer, Engineer – Martin (The Ninja) Birch
  • Engineer [Second] – Benedict Tobias Fenner*
    • Prolific engineer working with Radiohead, The Cranberries (co-producer), The Feeling, James, Marti Pellow, David Bowie, Brian Eno, Elvis Costello, INXS, Depeche Mode, The Kinks, Whitesnake, Trevor Rabin, Robin Trower, Michael Schenker Group, Bob James, John Patitucci, Bob Mintzer, Gary Husband and Janek Gwizdala.
    • Fenner has worked with many producers including long associations with Brian Eno, Elvis Costello, Andy Richards, Ray Davies, Trevor Rabin, Martin Birch, Eddie Kramer and Richard Niles.
  • Engineer [Second] – Patric Drouget*
  • Management – Damage Control Management
  • Producer, Engineer – Martin “The Ninja” Birch

Album Art & Booklet Review

  • Other [Album Title] – Jack Magill
  • Photography By [Cover] – Fin Costello
  • Photography By [Group] – Brian Aris

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Album Tracks:

Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side One:

  1. Assault Attack (Schenker, Bonnet, Glen, McKenna)
    • This song was included in the video game “Brutal Legend” which was released in 2009.
    • Video game was made by Tim Shafer which made one of  this host (Nate’s) favorite video games of all time, 1995’s Full Throttle which was also a heavy metal themed game as well as the first two Monkey Island games and Psychonauts.
  2. Rock You to the Ground (Schenker, Bonnet)
  3. Dancer (Schenker, Bonnet)
    • This was the only single from the album. It was released with the B-side “Girl From Uptown) which was included in the later CD reissue as a bonus track.
  4. Samurai (Schenker, Bonnet, Glen)
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side Two:

  1. Desert Song (Schenker, Bonnet)
  2. Broken Promises (Schenker, Bonnet, Glen)
  3. Searching for a Reason (Schenker, Bonnet)
  4. Ulcer (Schenker)

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Bustin’ Out The Spreadsheet

Chart (1982)Peakposition
Japanese Albums (Oricon)[6]9
Swedish Albums (Sverigetopplistan)[7]34
UK Albums (OCC)[8]19
US Billboard 200[9]151

Reception and Charts:

  • The album was released in October of 1982.
  • Ranked #481 in Rock Hard Magazine’s book The 500 Greatest Rock & Metal Albums of All Time.
  • Get With The Programme. The Michael Schenker Group Assault Attack UK tour of 1982 was only 14 dates starting in late November. 2 at Manchester Apollo, one at the Hammy and a haul around the provinces.
  • Peak chart position:
    • UK – 19
    • Sweden – 34
    • Japan – 9
    • US Billboard 200 – 151

Reviews

  • Martin Popoff ranked this album 10/10 in the “Collector’s Guide to Heavy Metal.”
  • https://zrockr.com/2015/11/05/michael-schenker-group-assault-attack/
  • Kerrang Review
  • Sounds 3 / 5
  • Metal Hammer 6 / 7
  • All Music 3 / 5 (User rating of 4.5 / 5)
    • Assault Attack Review by Andy Hinds
    • Michael Schenker’s pairing with former Rainbow wailer Graham Bonnet made perfect sense, since Schenker’s facile, classically flavored Euro metal guitar style is a graceful extension of Ritchie Blackmore‘s innovations. The results on Assault Attack are pleasing; while Schenker predictably delivers top-notch performances, Bonnet‘s vocals are edgier and more engaging than those of former MSG singer Gary Barden. [A bonus tracks edition of Assault Attack was released in 2006.]

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Episode 325 – Captain Beyond – Live in Arlington, TX (1973)

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  • Ralphie continues binge-listening to the show!
  • Peter Gardow sends family floral heirlooms to to the state of Illinois!

Lead up to the Album:

  • After the release of Sufficiently Breathless they reunited with Caldwell on drums for a year.
  • Evans would leave the group in 1974.
Version 1.0.0

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The Venue:

Setlist

  1. Voyages of Past Travelers / Distant Sun
  2. Drifting in Open Space
  3. Pandora’s Box / Thousand Days of Yesterdays (intro)
  4. Frozen Over
  5. Dancing Madly Backwards (On a Sea of Air)
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  8. Mesmerization Eclipse & Drum Solo
  9. Stone Free (Encore)

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    • Ian Desrosiers
    • Mark Roback
    • Stuart McCord
    • Flight of the Rat Bat Blue Light
    • Øyvind Fjeldbu – 🇳🇴
    • Runar Simonsen – 🇳🇴
    • Ruinous Inadequacies
    • Corey Morrissette
    • Ashely { Still I hear, “Burn” } Rose
    • Joe “Dopefish” Siegler
    • Adam Corke
    • Tim Wood
    • Steve “Down to Earth” Koeller
    • Michael
    • Matt R
  • The $1.71 “I Want My Own Tier” Tier
    • Rich “Yngwie” Shailor
  • The 10 DKK  “Cold Hard Danish Kroner” Tier
    • Carsten Lau
  • $1 Made Up Name Tier
    • The “Cold & Rainy &” Leaky Mausoleum
    • Stephen Sommerville The Concerto 1999 Fanatic
    • Hank the Tank
    • Private Eyes
    • Ashen Lionel
    • Zwopper The Electric Alchemist
    • Anders Engstrom
    • I see DC
    • Durple Purple
    • David Hattam
    • Graham Bonnet’s Disco Pants and Haircuts
    • Eddie Lion
    • Sicktone

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

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Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Bluesky, Facebook, Instagram, or Threads.