Deep Purple

ARTICLE ABOUT Ian Gillan (Deep Purple) FROM Record Mirror, May 27, 1972

To someone who didn`t know better at the time it would seem as Mr. Gillan was a Christian. First he starred in a very central role in the musical “Jesus Christ Superstar” and then he produced the band “Jerusalem”. Funny business for a man who later composed a song called “No Laughing In Heaven”.
Oh, well, this is a treasure from those golden days at the start of the 70s and I`m off to a concert tonight with some other fans of Gillan`s main band Deep Purple, namely the incredible musos of Dream Theater.
Enjoy!

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Svengali Ian Gillan tells of his first Purple Production

CAPTURING THE BIRTH

James Craig chronicles the progress of Jerusalem

POP MUSIC as someone once remarked is well left in the hands of youth and as some of our super stars totter towards the thirty plus signs it might be as well to offer some encouragement and help to those on the starting line.
Certainly that is the thinking behind Deep Purple`s vocalist Ian Gillan`s helping hand to four young men from Salisbury in a band with the unlikely name of `Jerusalem` with an even more unlikely titled single `Kamakazi Moth` (Decca) and an album just released.
Ian has just formed a new production company ‘Pussy Music’ and ‘Pussy Enterprises’ to which Jerusalem have become the first signings and last week he introduced me to half the group in the forms of Bob Cooke (lead guitar) and Paul Dean (bass) over a flagon of ale while he explained his involvement.
“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.”

Originally they started out as a `mean dirty blues band’ and moved through a phase they like to forget which was vaguely progressive which means everyone who came to see them sat on the floor like in-animate blobs and soaked up the vibes.
“Young people have just naturally got more energy than that and we want to see them moving about and enjoying themselves,” says Paul.
“Personally I feel that the ‘flashier’ a band is when they come on stage the better they look.
“I think people like Bolan have got it right – young audiences want to see something a bit exotic on stage. We are a flash band in that sense — a bit vicious and a bit sensual. We use a lot of volume but not as a cheap way to generate excitement.”
I think it was Paul who mentioned that the band had got a recent touch of ‘the support band blues’ playing second string to such formidable talents as Curved Air and Manfred Mann.
“Manfred has really got a very good little band together now,” said Paul. “He’s gone back to a basically pop format and it seems to be working. ” He was most impressed to witness the star playing chess in his dressing room prior to his appearance.
“The problem with playing in support of big name bands is that you know that they have come to see the headliners and you’ve really got to play your arse off to get any attention.”
Ian interjected to blow their own trumpet for them.
“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.”

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Paul Dean – Jerusalem

Jerusalem have already suffered at the hands of word-slinging record reviewers who like to discourage new rock bands before they have managed to make their first tentative steps but overall they are winning recognition for their musical exuberance and crowd pleasing performance.
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 postion 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 disragingly 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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Would this ad be allowed in 2020? Not sure about that….

The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
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ARTICLE ABOUT Butterfly Ball FROM SOUNDS, October 25, 1975

I have archived this one under “Deep Purple” as it seems the better category considering Glover`s involvement along with other members of that band.

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Concert Review from London

By Phil Sutcliffe

What a pleasantly different experience! After all the doubts and warnings of impending disaster `The Butterfly Ball` live was just about as good as it possibly could have been oratorio-style without the costumes and full trapplings of a dramatic production.
A full orchestra sounding in high spirits put a brassy weight behind most of the numbers. The rock band, including a gaggle of keyboard players and Eddie Jobson in joyful form on the electric violin, made it all a lot more raunchy than the rather precious imagery of the `Ball`s` sundry packaging would suggest. And the infinite queue of eager lead singers suggested an opulence of talent such as is too rarely gathered together on a British stage. The musical edifice sustaining all this, last year`s Mr R. Ex-Purple Glover`s album is nice rather than magnificent, but there were times when most of the Albert Hall and your reviewer got quite carried away.
Members of the Purple family like Coverdale, Hughes and Gillan did their bits in friendly, self-effacing fashion like Dylan at the Bangla-Desh, not wanting to steal anyone`s thunder, but the stars of the night came from the `I-know-the-face-but-who-the-hell-is-it?` set featured as the show came down the home straight.
Tony Ashton (A, Gardner and Dyke) swaggered on like Graham Bond reincarnated, greasy hair, shades and leather jacket, and proceeded to rip away the last vestiges of formality from the proceedings with some sleazy blues piano and matching bar-room vocals that took the musicians as well as audience by surprise. Then he yanked his jacket back off his shoulders for a break of Little Richard razzle-dazzle, cooled it again for his coda, burped loudly and departed to a mixture of applause and hilarity.
John Gustafson (Roxy`s current bass guest) had to follow that with `Watch Out For The Bat` and he met the challenge with revetting vocal energy, high, sinister and savage – why isn`t he a lead singer rather than a session bassist? Then John Lawton (who? A Les Humphrey Singer) set the seal on a jolly, almost flower-powerish, evening with two renditions of `Love Is All`, on the encore, his flat-out professional tenor hitting the high notes exultantly where some of his celebrity companions wavered.

The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
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ARTICLE ABOUT Deep Purple FROM SOUNDS, October 25, 1975

Time would definitely tell for this record. A very interesting perspective from the time it was released here. Do you agree with Mr. Barton?
Read on!

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Purple: tastes good, but…

Deep Purple: `Come Taste The Band` (Purple TPFA 6715) 39 mins.

Album review by Geoff Barton

Deep Purple have undergone personnel changes in the past and have always successfully pulled themselves through. Happily, `Come Taste The Band`, featuring guitarist Tommy Bolin in Ritchie Blackmore`s stead, brings the band out of their most recent crisis – although not as thoroughly nor as completely as you may have hoped.
This is a particularly fine rock album – but is that really enough? Although `Come Taste The Band` is on a rung above both `Burn` and the jaded `Stormbringer`, it`s not quite up to the required height. To justify their position as one of the world`s top bands and to quell the somewhat cynical rumours that they`ll never be able to fully recover from Blackmore`s departure. Purple needed to come up with a killer LP, something that would stand up proudly alongside the likes of `In Rock` and `Machine Head`. This isn`t it.
Tommy Bolin is an accomplished guitarist; of that there`s no doubt. He`s slotted into the band as neatly as a well-worn key into its lock. He`s injected a heavy dose of fresh energy – I haven`t heard Purple play with such boyish enthusiasm in a long time. His guitar work is succinct, immensely fluid, but never overbearing – indeed, `CTTB` displays a much freer, give-and-take musical attitude than even several early Purple albums.
The problem lies with the quality of the songs. Bolin`s songwriting prowess (he`s contributed eight numbers) is OK – yet he`s a long way from being able to write numbers of the calibre of `Space Truckin“, `Smoke On The Water`, or even (to switch to `RB`s Rainbow album) `Man On The Silver Mountain`.
Even so, they`re not appreciably different from the band of old, here – if anything, they seem to have consciously adhered to tradition, with numbers like `Comin` Home` (even though it has brief `Quadrant Four` guitar) and `Drifter`.
There are snatches, however, that may serve to betray the direction in which Purple may move in the future: the initially punchy `Love Child` has an incongruous funky section, together with what could well be Billy Preston`s moog. `Gettin` Tighter` and `I Need Love` have brief funk passages, as well.
Still, before I get too tied up in (minor) criticisms, let it be said that there is a lot to get excited about, here: notably the rampant `Dealer`, with its `Purple Haze`- like opening, timely ballad section and Hughes` meaty vocals more than making up for its hackneyed lyrical theme, and `Lady Luck`, a potential single.
`Come Taste The Band` is an album that stands head and shoulders above your normal mundane rock release, but at the same time the question must be asked: does it show enough potential and promise to ensure the new Purple a safe passage into the future? Time will tell.

Deep Purple

The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

 

 

ARTICLE ABOUT Roger Glover (Deep Purple) FROM SOUNDS, November 9, 1974

I will let Wikipedia say what needs to be said about this one: “The work was originally conceived as a solo vehicle for Jon Lord to be produced by Roger Glover who had recently left Deep Purple. However, Lord proved too busy with Deep Purple, and Glover took up the reins on his own. Using his connections, Glover recruited a large cast of noted rock musicians, with a different vocalist for each character, including David Coverdale and Glenn Hughes.”
Read on!

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Glover has a ball

By Pete Makowski

Roger Glover is a satisfied person nowadays. Since his departure from Deep Purple, Glover has steadily been building up a good reputation as a record producer and now his new venture, “The Butterfly Ball”, will gain him respect as a musician and composer.
“I always felt that people expected certain kinds of things from me,” said Roger, “when I was approached to do this project, I thought `shall I do something really heavy and rocky, or shall I do the complete opposite`. Then I decided to do exactly what I felt was right, not just live up to everyone else`s expectations.”
“The Butterfly Ball And The Grasshoppers Feast” is the title of a book illustrated by Alan Aldridge (well known for “The Beatles Illustrated Lyrics”) around the poetry of William Plomer. Now Glover has taken the idea of the book and transformed it into music.
The music from the album is going to be used in a forthcoming cartoon serial based round the book and there are also possibilities of a film and a play.
The unlikely marriage of Aldridge and Glover resulted via British Lion who first met Roger via Purple when they filmed their “In Concert” performance.
“We used to get lots of offers to do film scores, but I never really considered it before although I did check them out. And when I left the band this came along and it interested me right from the start.
The next move was to write the music. “I didn`t write anything until it got close to the deadline, I find I work better under pressure.
“A lot of the numbers involved experimentation. I had to find out which vocalist would suit a certain number. If it didn`t work with the people at hand then I would hire a session guy.

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“I hope people don`t treat this as the soundtrack album, it`s the `Butterfly Ball` a thing of its own. Songs from the album will be used in the series when it`s made and sold, and I wouldn`t mind doing the incidental music for it because it`s something I haven`t done before.”
The projected cartoon series will be done by Alan Aldridge and Lee Mishkin. The pilot of the film is definitely in the Disney class. The film has that kind of appeal which will attract both the juvenile and adult market. Terry Flounders has the job of making “The Butterfly Ball” a household name – as he did with the Wombles. It`s a winner, although Roger can see some pitfalls.
“I can see a couple of things that would hold it back. Primarily my name. Y`see the album can`t exactly be described as a family album but then again it`s not anything in the mould of Purple. When people hear it they immediately put it under certain categories, which is something I can`t stand. This album should stand out on its own as much as within the context of the film… it`ll be interesting to see what the critics say.
“I`m really glad to be off the road,” said Glover, “although I`ve got to admit I did think about getting a band together. I sometimes miss gigging which is different to the high pressure touring schedules with Deep Purple.”
Glover puts his career with Purple well into the past, although he doesn`t knock it, he feels it has contributed to his cynical outlook towards the music business. “There are so many false people you can meet in a business like this it`s untrue.”
Glover`s production ventures have brought him much success and satisfaction. “It was when I started producing I realised I wanted to write again, cause when I produced a band I`d find myself writing parts and changing parts for them which I don`t feel is the right thing for a producer to do.
“I`ve been living in Kingsway (Ian Gillan`s studio) for the most of this year and I`ll be taking a rest for a while… I think I deserve it.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Ken Boothe, Van Morrison, Pete Brown, George Harrison, Pink Floyd, David Puttnam, Mott The Hoople, Bad Company, Phil Spector, Thin Lizzy, Janis Ian, Elton John.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Deep Purple FROM SOUNDS, June 8, 1974

A short, but sort of funny review of this concert. A short mention of the Dio-led ELF too. Nice.

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Concert review

By Pete Makowski

Purple hit Coventry with two evenings of good music and sheer lunacy to mark the end of a triumphant British tour. Everything seemed quite normal at the opening of Elf`s set. They have developed into a highly polished professional unit. Ronnie Dio displayed his powerful vocals on a searing rendition of “Happy” from their current album “Carolina County Ball” and the delivery of this number was so crisp and powerful that the audience surged towards the stage in appreciation.
Suddenly from nowhere a “dirty great big” bag of flour hit Ronnie on the head. More of them seemed to appear from the corners of the stage and soon enough the whole line-up of Stephen Edwards (guitar), Craig Gruber (bass), Mickey Lee Soule (piano) and Cool Guy (drums) were covered in dat white stuff. The audience, who were looking a bit dead, didn`t seem to react to this attack.
Next on were Purple, kicking the set off in fine form with “Burn”. They played their asses off and the set ran smoothly apart from a mysterious incident involving a bottle breaking against the side of Glenn Hughes leg. Blackmore featured some really fine soloing and Ian Paice did a mindblasting solo in “You Fool No One” which went into “Mule”. David Coverdale displayed his vociferous vocals in “Mistreated”. It was a great set, not their best, but they were out to have a good time.

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They too were bombarded with flour at the end of “Space Trucking”. By this time the audience were on their feet and cheering and the band came back on for an encore which was “Going Down” which culminated with a line of trouserless roadies having a knees up across the stage. To finish this off a certain gentleman, who has been described as the entertainments officer, strode across the stage in black tights, knee-length boots and hat, looking like the son of Max Wall, and bared his buttocks to all.
Backstage after the show the scene was comparitively calm. Jon, Dave and Glenn were getting ready for their trip to Germany the next day where they will be performing Jon`s “Gemini Suite” and everyone was bidding each other farewell. Two burly characters confronted me “don`t forget to mention Pad of the plank and Jim for their excellent job on security”, uh okay, boys.
This tour has proved the new line-up to be a viable proposition, and this is obviously a skeleton of what to expect in the months to come.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Bryan Ferry, Captain Beefheart, Jim Capaldi, Lee Jackson, Uriah Heep, Byzantium, Denny Cordell, Ronnie Lane, Blue, Nutz, Arthur Brown, Harry Chapin, Groundhogs, Genesis.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.