It’s with great excitement that we here at The Deep Purple Podcast announce the upcoming book “Before We Forget” by our good friend and patron Ovais Naqvi.
Ovais has worked tirelessly over the past two years speaking with dozens of collaborators, friends, and family members of the late Jon Lord to bring forth this superb work on his life and career. Within is the most complete and meticulously detailed account of the gear and instruments he used to style some of the greatest recorded music of the past 50 years.
The Author in His Own Words:
“I grew up in North West London (the home of Charlie Watts, Keith Moon and Nicky Hopkins), listening to Jon Lord’s extraordinary sounds and music and the idea of this biography was to celebrate his genius, but to approach him from the direction of sound, instrumentation and musical DNA”, writes the author Ovais Naqvi. “I was less interested in his “life”, even, in a way, wanting to continue to protect his privacy and I was more interested in how such remarkable musicality emerged from a small semi-detached house in Averil Road in Leicester in the 1940s.
“My question, ‘was how could a kid growing up in austere 1950s Britain, become so adept at so many forms of music?’ Then, when you turn to the London live scene from 1964, from his knowing the teenage Ronnie Wood and living in his mum’s house, to playing alongside his brother Art Wood, Jimmy Page, Ray Davies, being on Ready Steady Go!, to being at the Apple Records launch party, Lord is here, there and everywhere – even before Deep Purple form in 1968.
“He could play jazz, blues, R&B, soul and pop and compose orchestral music, alongside coinventing decibel-breaking heavy rock, all with equal facility. That’s incredible in itself and led me to ask ‘how’, with what kind of a musical brain – and with which tools – did he manage to achieve all that? That is, in essence, what drove this amazing journey”.
The book contains incredibly researched rundowns of all the different rigs that Jon Lord used over the years such as this one from his time with Whitesnake.
Never before has anyone taken such account of the gear setups that Jon Lord used over the years. This book serves as an amazing telling of Jon Lord’s musical endeavors but also serves as an important reference of the equipment and instrumentation he used throughout his storied career.
The book contains full identification of all the Hammond organs he played on a permanent and long-term hired basis in Deep Purple and Whitesnake between February 1968 and September 2002.
This includes an array of over 50 electric and acoustic pianos, monophonic synths, polyphonic synths, effects units, sampling units, MIDI synthesisers and keyboard module units.
Ovais has had the fortune to connect with Deep Purple as well as Paul Mann to discuss Jon’s life and legacy.
This book is an absolute must for any fan of Jon Lord, Deep Purple, or the incredible advancements and influence that keyboards and synthesizers have had on the music over the past 50+ years.
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Founding member of the band Firefall with Rick Roberts of the Flying Burrito brothers whom he met while touring with Gram Parsons. The band remains active to this day.
Some copies were released as promotional as shown with round pink sticker on back of sleeve as well as a single sheet insert with album details and band biography (see image). Everything else appears the same including labels and runouts.
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Episode 346 – Roger Glover at 80
December 1, 2025
Introduction Script:
Welcome to the Deep Purple Podcast, a fan podcast devoted to one of the greatest bands in rock history – DEEP PURPLE! Today’s episode is [ — EPISODE #, EPISODE TITLE — ], and coming to you from the [ ] suburbs of Chicago I’m your host, Nathan Beaudry.
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Matt R (Now Matt in Vegas) writes:
Sorry for the delay in responding to your questions. I had no idea. It’s probably too late but “Matt in Vegas” is fine. I think it was around 1973 I discovered DP thanks to my older brother and his friends. Smoke on the Water was playing all the time and it was then I wanted to play guitar and luckily still do. Then I watched the ABC In Concert show for Cal Jam and that did it for me.
I think I discovered your show by accident. I was listening to a Rush podcast and I was scrolling underneath the show on my phone and under “you also might consider….” I found your show. Couldn’t believe it. A Deep Purple podcast? My favorite band growing up (I’m 61) and there is a podcast for this band!!! Jackpot!! This was about 4 years ago. And thanks to your show, I discovered Scott’s show. Two DP shows!!!
You guys do an awesome job, thank you for all you do. I just listened to the Made in Japan remix episode and decided I need to buy this but unfortunately it appears to be sold out. Thanks again!
Matt
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hh
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Thank you, this is my first venture into both Patreon and Discord so please go easy on me. As for an opening welcome, I’d just like to insist that it won’t be read out before dusk, as per the contract.
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History:
In December of 1976 Paice Ashton Lord started rehearsing to prepare for touring. Their stage set was built by the person who’d done the stages for The Spy Who Loved Me and they rehearsed at Pinewood Film Studio.
Jon hit local radion stations in early December to talk about the band.
“This new band isn’t going to be Deep Purple Mark 7. It’s NOT an attempt to recreate Purple, it’s a totally new direction for me and Ian.
They only played a handful of shows ending with Tony falling off stage at the Rainbow Theatre and breaking his leg.
After the shows Lord and Ashton went to America to promote the album with Warner Bros. before returning to Germany to start work on their second album.
Ashton: “We went back to Munich to start recording a second album and got some tracks done but the impetus had gone and we never finished the album.”
Ashton said that he had done vocals on the song Black and White at Abbey Road but the master tapes for the second album went missing and were never found.
Tony had a monitor mix done on cassette so he could finish the lyrics and still had it. This is what was used as the source material for these tracks.
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Album Tracks:
Steamroller Blues
This was a track they’d already performed live with Bernie Marsden on vocals.
Nasty Clavinet
Black And White
Moonburn
Dance Coming
The title of this track was a twist on a long standing BBC TV show called “Come Dancing.”
Goodbye Hello LA
Untitled Two
Ballad of Mr. Giver
Remake of the song Lord and Ashton did on their 1974 album “First Of The Big Bands.”
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He stayed in England and became a producer for Island Records, producing Jim Capaldi and Bob Marley & The Wailers. Also produced Robert Palmer, Toots And The Maytals, Rough Diamond, No Dice, Gillan, Supertramp and others.
His career started as a Junior Technician in 1967. Credits include mixing, sound recording and production, notably working in conjunction with British artists such as Talk Talk, China Crisis, Robert Plant, Faithless, Dido and British Sea Power to name a few.
He has also worked in an assistant studio role with many other European acts.
By 1975, Trapeze were a long, long way from the exquisite pastures of their debut album — and a long way, too, from the days when the Moody Blues could be ranked among their biggest fans, as well as their employers (the band was originally signed to the Moodies‘ Threshold label). But maybe hoping for at least a splash of that old magic to resurface, the band titled its final LP after its first — plain ol’ Trapeze — and the bandmembers did their best to look their imminent demise full in the face. Maybe they didn’t know what fate had in store for them as they recorded this, but Trapeze is still a dour little disc, desperately missing the funk infusions of Glenn Hughes and, for the most part, overshadowed even by its disappointing predecessor. “Star Breaker,” the opening cut, is probably the best thing here; for the most part, though, Trapeze is lumpen rock by rote, dull and dismissed by all but the most desperately faithful.
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Photography By [Incl. The Front Cover] – Andy Seghers
From Jerry Bloom:
He did a brief tour of Austria and Switzerland on a bill with Bernie Marsden. The plan was to record the first two shows in Austria. I flew out the day before to spend some time in Munich, then I was going to move on to Vienna with my sound engineer flying in that day. However when I woke up that morning there was a text message saying she was stuck in London as flights had been cancelled. It turned out that a volcano in Iceland had erupted and the smoke was so bad that flights throughout Europe got grounded…
However we managed to record the second show as the in house engineer had a pro tools rig at the gig, so that was okay but we needed another show, just in case, so yes, the next show was in Hungary a few weeks later so I flew out there with another engineer and we got that recorded, then put the best of both nights to make the CD.
Happy memories. It was 15 years ago!
It was crazy. Initially it was just Northern Europe but the ash clouds were so bad it spread across the whole of Europe and eventually country by country was shutting down it’s flights. After the show in Switzerland we had to hire a car and drive the length of France and then get a ferry back to England. Nick me and a couple of others. Long journey!
Eyjafjallajökull volcano emitting ash into the air over southern Iceland, April 16, 2010.
Discogs indicate a band named Black-Out, a few Nick Simper recordings and Kiss Live & Loud from 2008.
Mixed at The Coach House, The Old Rectory, Colmworth.
Mastered at Fairview Studios, Willerby, Hull.
Project co-ordination and package design, Wymer UK.
Thanks to: Caroline Adcock, Rob Ayling, Anne-Marie Lavelle, Terry McDonald, Mike MacKechnie, Jerry Packer, Jörg Preiss, Gerald Knauseder, Janine Wenzel at Kanal 3 TV in Austria, Stefan Rachholz, Roger Newport, Kev and Will at Pure Music, and the masterful John Spence.
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