Deep Purple

ARTICLE ABOUT Deep Purple FROM New Musical Express, March 20, 1976

Just a short concert review confirming that the music journalists could smell a break-up coming. They were absolutely right when it came to Purple as this was one of their last concerts until the reformation in 1984.




By Tony Stewart

At the Empire Pool, Deep Purple rule.
The roaring audience of ten thousand or so press their hands to their heads as their ears get pinned back flat by the band`s first number, and David Coverdale steps forward.
“We`ve come to quash rumours that Purple have finished.”
Lapping up that welcome news, the crowd call for more, little realising in their ecstatic bliss that within the group things do seem decidedly amiss. It`s not only possible, but highly probably that changes in personnel will occur.
Even backstage, an aura of discontent is evident before the gig. There`s no feeling of an event about to happen, which a Wembley gig certainly should be. And the obvious joviality between Lord, Coverdale, Paice and Bolin (Hughes isn`t around) is only superficial. To me the spirit of the band seems drained.
Weariness is offered as an excuse, but more likely discontent is creeping in. Like an unattended case of dry rot.
And back on stage under the elaborate lighting for the first of their two nights at the Pool, the evidence that something`s fundamentally wrong with the present Purple concept is about to unfold.

Admittedly, their second number, “Lady Luck”, proves that the present line-up can work. Coverdale slices his voice, pitched dangerously higher than his natural range will safely allow, through the thick carpet of organ chords laid by Jon Lord, while Ian Paice, on drums, and Glenn Hughes on bass, create as solid a rhythm as anyone could wish for. Tommy Bolin, his long hair tinted a variety of colours, splatters the piece with some frenetic guitar soloing to justify his position as Blackmore`s successor.
It`s a well integrated five-piece, as startlingly direct as a glass of cold water down your neck, but the impact is diluted by bouts of blatant indulgence and internal political games.
Although there`s a fairly high degree of individual ability within Purple, their talents are certainly not directed towards group unity. As Paice slams into the uptempo meat of “Gettin` Tighter” like a gale slamming wooden shutters against a wall, Coverdale is pushed off stage so that Hughes can handle the vocals.
And from this point on, with the exception of Lord`s soulful “This Time Round,” the act is virtually a rotation of solos from Hughes, Bolin, Lord and Paice.
The results are both predictable and bizarre.

IMG_0564 (1)

As is to be expected, too much instrumental freedom leads to abuse of the privilege. Lord`s main solo deterioriates into sub-Emerson electronic noise, and Bolin blows his rating with the audience by strutting his talent like a two-bit whore who promises the goods, teases, and eventually doesn`t deliver.
The main weirdness exists between Bolin (who invariably seems on the point of losing his balance) and Hughes, who face each other like two fighting cocks sizing up one another`s potential threat.
But Coverdale gets the rough deal. So infrequent and brief are his appearances on stage that he fails to establish a firm rapport with the audience, and “Speed King” seems a contrived finale.
What Purple lack is conflict. Gone is the jousting of organ and guitar for space that used to exist between Blackmore and Lord which created so many spontaneous solos. An occasional clash between the vocals of Coverdale and Hughes wouldn`t be out of place either.
Instead, they all merely go through the motions of a formula which becomes increasingly boring as the set continues. And you can even tell when the dry ice is going to be poured onto the stage.
No, they`re not finished. Not quite.


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 New Musical Express also contains articles/interviews with these people: Laura Nyro, The Eagles, King Crimson, Phil Spector, Dick Morrisey and Terry Smith, Zal Cleminson, The Who/Steve Gibbons Band, Bobby Womack, The Tubes.

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:
2. The offer should be 15 $ (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, March 13, 1976

Well, well, well…. someone`s been a little naughty since I said that I would always post articles of the five bands/artists in my all-time hit-list on this blog. In the two days after I had a great number of hits on certain artists on my blog. I like it when people are a little naughty, trying to help their favourites up the list!
So status now is the following: Rainbow, Deep Purple, Lemmy, Ian Hunter and Steve Howe (Yes) is in at the moment.
Ian Hunter is a newcomer and Beck, Bogert & Appice just fell out from the top five.

The article was written by Geoff Barton. When the history of hard rock and heavy metal is written about 100 years from now – he will be among a small elite of writers they will mention. Still actively writing today for Classic Rock and with a great career writing for Sounds and as a founder and writer for Kerrang Magazine. He is, and will always be a true legend, as famous as the people he was writing about. Check this excellently written article as proof of his ability as a writer. Enjoy!


You keep on moving

Is the new Purple as good as the old?
Geoff Barton joins the band`s 24th tour of America to find out.

“This is my twenty-fourth American tour,” remarks Jon Lord, staring abstractly into his steadily diminishing glass of Cognac, “my twenty-fourth.”
Have they all been with Deep Purple?
He nods affirmatively, his empty gaze changing to one of mock despair, and finishes off his drink in one large gulp.
“But, you know,” he continues, “life on the road isn`t that bad any more. In the band`s early days, it was a trifle hectic. Now, eight years on, we can afford to relax a little.”
Indeed. A Deep Purple US tour is, today, a smoothly-organised, well put together affair – lots of long, black limousines which, even in the midst of a queue of similarly tank-like American cars, cause heads to turn.
No soundchecks, the roadies are veterans too, it`s a case of on the stage, off the stage, with a one-and-a-half hour set in between.
There`s even a customised plane, with the name `Deep Purple` emblazoned on its side, to fly you the 200 mile-upwards distances from gig to gig.
Yes, they can afford to relax a little – but they daren`t become complacent.

Jet lagged, weary and fighting off a flu bug, I arrive at the airport of San Antonio, Texas, in the early evening. Lois, Purple`s delectable American publicist, is there to meet me. The band, she informs me, are playing tonight. Did I want to go to the concert? Or would I like to go back to the hotel instead, to sleep off the journey and start afresh tomorrow?
The prospect of a soft bed sounds tempting… but no, although I`ll doubtless have several opportunities to see the band during my stay, curiousity gets the better of me. I`m interested to see new guitarist Tommy Bolin, I`m anxious to find out if the various disparaging reports about the band that have filtered across Britain since the beginning of this tour are founded and hold water.
“Deep Purple are going to break up,” a colleague had said, with a good deal of conviction, just before I left Britain for the States.
Are they?
Certainly, it seemed possible, watching the band from the back of the stage on that first night. Tommy Bolin, with streaked hair, tight velvet trousers and snakeskin boots, seemed less than convincing in his role as lead guitarist, front man, mainstay of the outfit.
Vocalist David Coverdale spent an inordinate amount of time offstage, graciously allowing bassist Glenn Hughes additional singing space.

Jon Lord seemed only mildly interested in the proceedings, his keyboard solo, save for the endearing snatch he played of `Yellow Rose Of Texas`, being mechanical and uninspiring.
Only Ian Paice had a good time, battling it out with his drumkit, his wiry hair flying in the breeze of the fan behind him.
It was, in all, disappointing.
But now, looking back, having seen subsequent sets at Abilene, Fort Worth and with the whole trip culminating with a supremely powerful concert at Houston Coliseum, I can safely claim true enthusiasm for this incarnation of the band. There are some faults, admittedly, but overall, I`m happy to report, Deep Purple are alive and kicking. Often fiercely.
But it was rough to start off with, touch and go for a while. Much of my initial reluctance to accept Purple Mk. IV stemmed, obviously, from the absence of Ritchie Blackmore. Tommy Bolin`s talents as a guitarist are not in question here – it`s just that he often fails to impress a positive identity onstage.
He`s not flashy enough – well, maybe `flashy` is the wrong word. Let`s say that he fails to flaunt his expertise, inflate his ego, straighten his shoulders and say, `Hey, I`m Deep Purple`s new guitarist. I`m better than Ritchie Blackmore. Here, I`ll show you what I mean…`
It took the aforementioned Houston concert to fully dispel any doubts and completely lay Blackmore`s ghost to rest – up until that time, things had looked decidedly dicey for the band.

Flying to Abilene the next day, I voiced my fears, albeit in a restrained manner, to the now-bearded David Coverdale. I mentioned that, as far as I could tell, `Come Taste The Band`, the debut LP with the new line-up, had had a pretty cool reception from Purple fans and critics alike.
“The last thing I heard, which was at the beginning of December, the album had sold 130,000 in Britain,” Coverdale counters, “I think at one stage it was at number nine in the charts, which is cool, Christ, what do people want? Worldwide, the album had sold well. I, for one, am not complaining,” he concludes, brusquely.
I asked him for his honest opinion of the album.
“It`s the freshest thing Purple have done since I joined the band,” he proclaims, “possibly even since `Machine Head`. I can only speak personally of course, but I`m very proud of the performance of each musician on the album.
“I`m very happy with my progression as a singer and as a writer. `Come Taste The Band` has lyrically and melodically, my best work on it to date. I can still listen to it after six months of living with it, which is incredible, amazing.”
As I said before, Coverdale spent a large amount of time offstage during the San Antonio concert, allowing Glenn Hughes additional space to exercise his own vocal chords. I wondered if he found his role in Purple`s current stage show rather restricting.
“Oh yeah – but I have no-one to blame for that but myself. I suggested the songs without realising how limiting they were, for me at least. They`re very monotone. I miss doing `Mistreated`, we`ll probably get that together for the British tour. But after all, I`m one-fifth of a concept and at the moment it`s very frustrating for me, because I know I can sing.

“Also, at the moment, we`re trying to get Tommy Bolin across – a lot of the act is centred around him, the same as it used to be around myself and Glenn, when we first started.
“But it`s really been all right so far – this tour`s profitable musically and profitable financially, which makes a change. Socially, it`s a lot more pleasurable.”
As the conversation continues, it transpires that a solo project is uppermost in Coverdale`s thoughts at the moment. Indeed, the ambition to prove oneself as a performer in one`s own right is a current preoccupation of several Purple members.
As well as Coverdale, Hughes has a album forthcoming, as does Lord (admittedly, his fourth) and of course Bolin`s `Teaser` LP is currently on release. In many cases, these solo plans override any thoughts about Purple.
“I`m very keen to find out what I`m able to do in a studio, on my own,” Coverdale reveals.
“When I record my album, it`ll be without any members of the band, because if I used any of them it would be judged as a Purple recording, not my own. I`m going to sing on this album, rather than scream my balls off. I`ve been fucking screaming for years now, you know…”
That night, in Abilene, the gig goes OK. Not spectacularly well just OK.
Apparently, Texans are wont to do a lot of ski-ing at this time of year. Somehow, it seemed sadly ironic when, mid-way through Purple`s set, a victim of a ski-ing accident who was present in the crowd thrust up his crutches high into the air, in a gesture that was supposed to denote appreciation.
To me, however, the action epitomised the situation onstage – Purple in some plight, having been dealt a serious injury with Blackmore`s departure. They were limping along, struggling desperately to equal past glories and falling far short of succeeding.


The next day in Dallas, near Fort Worth, some personnel friction makes itself evident. The afternoon`s round of interviews and personal appearances takes Tommy Bolin and Glenn Hughes to two record shops, one a vast disc emporium, the other a more intimate concern. In both places, however, displays for Bolin`s `Teaser` album far outweigh those for `Come Taste The Band`. Hughes becomes, not surprisingly, a trifle annoyed.
In the first store, the record supermarket, the manager entices Bolin to climb a stepladder and autograph a six feet square, handpainted cardboard poster of his `Teaser` LP sleeve, stuck high up on a wall. In the second shop, matters become worse.
`The Teaser on Nemporer Records – here, in person, today. 6.30 thru 7.30.`
Runs the banner outside. The whole of the right hand shop window has been taken over by Bolin publicity material. A `Come Taste The Band` cover is displayed unceremoniously in another window, alongside many others. Hughes is understandably peeved.
Later, when Bolin is busy signing autographs in the store proper, it is `Come Taste The Band` and not `Teaser` that blares out of the shop speaker system. A token acknowledgement to Hughes` presence, a passing nod to the fact that Bolin is a member of Deep Purple. The atmosphere is tense.
However, when I eventually talk to Hughes about Bolin`s role within the band, his enthusiasm for the new guitarist seems to hold no bounds. If he does resent Bolin`s success as a solo figure and its apparent interference with his identity as a member of Deep Purple, he hides it very well.

“Tommy`s come a long way in a short space of time,” Hughes relates, “he hasn`t even started properly yet. I`m sure that, by the end of the year, he`ll be a force to be reckoned with.”
Deciding not to push the matter much further, I nonetheless suggest that, in Britain at least, people are sceptical about Bolin`s position as Deep Purple`s guitarist.
Hughes disagrees, “I don`t think British audiences expect Deep Purple to be Deep Purple as before. They expect to see a new show with some of the old guys and a new guy. I think they`ll accept the change, I really do. I think it`ll be knockout.
“The band`s a lot funkier now, we have to be, I can`t play any other way. At the moment, I`m doing as much as I can do within the band, I can`t go any further because then it wouldn`t be Deep Purple. I`m almost totally in R`n`B, so much that it sometimes hurts to play with this band.
“But still, I feel a lot freer in Purple now than I`ve ever done before. I`ll feel even better after I`ve done my own album in May – or maybe August, it all depends on the availability of the people who I want to play with me. I`ve been working on the LP for some time now at home in LA and I`ve put down a few basic tracks in Herbie Hancock`s studio. I`ve got a lot of people in mind to do the album with me – Tommy (Bolin) might play on a few tracks, Ronnie Wood too, maybe even John Bonham…
Bowie`s going to produce it, along with myself (Bowie and Hughes being close friends). The album will contain lots of personal songs, very much in an R`n`B mould.”

With this consuming love for R`n`B in mind I suggested that Hughes might feel somewhat frustrated, playing with Purple.
“I don`t like heavy rock music, believe it or not,” he says, matter-of-factly. “But `Smoke On The Water`, `Machine Head` and all that is Deep Purple, I can`t change it. I don`t feel frustrated onstage when I`m playing, but I do sometimes when I`m offstage and I begin to think about it.
“That`s why I have to do this solo album – I want to get into the whole lead vocal trip again. I need to sing, my whole life is singing. I have to sing onstage. There`s no competition between me and David, I just want to sing.”
The Fort Worth concert followed much the same pattern as the one at Abilene. I was getting a little disenchanted.
Houston, space age city, all towering tinted glass, was my last night with the band and it just had to be good. As I walked out to sit behind the mixing panel and see the band out front, I was mildly depressed.
My mood, if I`d bothered to analyse it, was, I suppose, one of cynicism. But happily, at the end of the concert, I was aglow. Archetypal high energy, loud volume rock`n`roll had blown my doubts to pieces. At last, Deep Purple had come on as a brash, arrogant, self-assured, supremely confident band. They played the proverbial storm. It was great.
The Houston Coliseum, a large, old-fashioned, dusty hall, set just the right scene. Its grimy, sweaty atmosphere was much more suited to a concert than, say, Abilene (a massive dome-like structure, stuck out with the cacti in the middle of nowhere) or Fort Worth (imposing and clinically-clean baseball stadium).

As always, Purple opened the show in fine style with `Burn`. The stage all in darkness, the orange lights suddenly flicked dazzlingly on to reveal, backed up by regimented amps and grinding guitar, five almost malevolent figures – Coverdale adopting his ramrod pose immediately, mike stand held high in both hands, horizontal above his head, flanked by Hughes to his right and Bolin on the left, a formidable threesome in themselves.
Bolin, as the number progresses, still seems to be content to play an economic role, somewhat afraid to assert the power at his disposal as lead guitarist, but he pumps out the licks with appropriate rapidity. The rest bolster the sound – Hughes, Lord and Paice battling it out, each seemingly trying to maintain dominance over the other. Coverdale howls. It is loud, the loudest concert so far.
At the end of `Burn`, the sound mixer, a Scottish gentleman, remarks, “There`s a bit of power in those speakers tonight, eh? This is real Deep Purple”.
And how right he is. A selection from `Come Taste The Band` follows – `Lady Luck`, the US single `Gettin` Tighter` and `Love Child`. Bolin is more at home with the recent numbers and actually begins to strut a little, some of his cocksure offstage manner beginning to seep through. Coverdale leaves the stage during `Gettin` Tighter`, allowing Hughes to play a short bass solo, to sing a little and do a voice-guitar exchange with Bolin, impeccably rendered.
Predictably, the biggest cheer of the evening comes with the announcement of `Smoke On The Water`.

“This song tells the story of an album we made in Switzerland…” declares Coverdale, back onstage. The rap becomes mildly ironic, however, when you pause to consider that only two of the current Purple line-up – Jon Lord and Ian Paice – survive from `Machine Head` days and experienced the events in Mountreux first-hand.
Although Bolin corrupts the famous opening chords slightly, the number is still very classy and full of dynamics. It`s here, for the first time, that I manage to accept Bolin as Deep Purple`s guitarist. Sure, it`s strange to see him crashing out what is essentially a traditional Blackmore riff, but tonight he attacks it with such gusto, such genuine exhilaration, that at last the absence of the man in black doesn`t really seem to matter any more.
Nevertheless, it`s unfortunate, but necessary I suppose, that Purple`s present set still pivots around `Machine Head` – three songs are included in all, and each make a far more definite impression upon the audience than any of the others.
`Lazy` follows `Smoke On The Water`, a loosely constructed rendition this, leaving space for two solo spots, Lord`s and Paice`s. Both offer powerful testimonies to their respective abilities, while adding little to their past, pre-Bolin showcases.
`This Time Around` is next, turning out to be the most successful number of the evening. Hughes` sophisticated vocals give way to Bolin`s perfunctory guitar spot. Introduced as `the best new guitar player in the world`, Bolin, finally, successfully proves equal to the big build up. His past solos have been mundane – fingers running up and down the guitar neck, plenty of heavy strumming, little else noteworthy, together with a general lack of dexterity.

At Houston, however, he was very much in control. It was good to see – there was some clever use of the echoplex, some deft picking, some macho string bashing. The crowd was responsive and Bolin, gaining confidence, shook his fist at them, then made a gesture for more applause and received it back in spades. Even from the mixing panel you could see his eyes flicker with delight as he suddenly realised that the audience was his, his to shape and fashion, to silence or to inspire to rapturous cheers. He was enjoying himself.
`Highway Star`, the encore, saw me up front, five feet away from the stage, in the middle of the surging crowd. It may not have been 117 decibels, but it was awful loud.
Alive and kicking. Fiercely.
Backstage after the encore`s echoes had died down, I remarked to Purple`s manager that, as Houston had been the last gig I would see on the tour, that the concert had been a good way to end.
He shrugged, “An end for you perhaps, but not for us. We just keep rolling on.”
Hmm. Although Purple may never again match the triumphs of the Blackmore-Gillan-Glover line-up, at least that twenty-fifth American tour is assured.


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 New Musical Express also contains articles/interviews with these people: Evelyn Thomas & Ian Levine, Shaun Cassidy, Jimmy Page, Cate Brothers, Julie Tippetts, Adam Faith, Pat Travers, Yes, Jesse Winchester, Phil Collins.

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:
2. The offer should be 15 $ (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 New Musical Express, November 1, 1975

Well, a fairly good review of this album and if you`re not seeing it as a Deep Purple album, but more of a funk & soul- inspired rock album, it is actually quite good. But it wasn`t meant to last. The band would soon fold for good and not re-emerge until April 1984. Enjoy!


O Lord, why hast thou forsaken us?

DEEP PURPLE: Come Taste The Band (Purple)

Record Review by Tony Stewart

There are two points to make about this album straightaway. One is that new guitarist Tommy Bolin proves to be a considerable source of material and inspiration and has laid down as many solos in one set as other guitarists would in four.
And secondly that Jon Lord, one of the two remaining originals, is out to lunch throughout most of the set. Which could of course be indicative of disinterest… or because Bolin has the stronger musical personality and is as smart as Ritchie Blackmore when it comes to grabbing the spotlight.
For this, and more, the album is a real curiosity.
It`s probably their best since, let`s say, “In Rock”, epitomising perfectly all the name Deep Purple represented: high energy, barrel-rolling power and uncomprising rock and roll at its very best. But it`s basically the new boys who`ve produced this.
Ian Paice rows himself in once on a joint composition with Bolin and David Coverdale, and Lord teams up with Glenn Hughes for a beautifully mellow track called “This Time Around”, which makes Jon`s trip out to Munich`s Musicland Studios worthwhile after all, while the rest of the album is taken care of by (predominantly) Coverdale and Bolin, with Hughes snatching another two joint composing honours with one or the other.

So you`ve got to agree that it`s a pretty strange situation for three rookies to know more about the concept of Deep Purple than a coupla founding members obviously do.
Paice, however, does show he`s an invaluable member when it actually comes to laying down the rhythms on that kit, and he and Hughes have the kind of professional relationship (at least on record) which can only be described as Hot Shit. There is after all more power and time changing, accent-making ingenuity than ever before in a Purple line-up.
Naturally it then follows that Bolin should play a dual role. One, as “Gettin` Tighter” illustrates, to brace thick, energy-packed chords into the rhythm, and two, as a lead soloist of such tremendous talent that despite the excellent vocal harmonies of Coverdale and Hughes on the soulful “I Need Love”, he again steals the glory for his outstanding work.

This man is an absolute maniac. Not only can he bleed the licks out on an overdrive piece such as “Comin` Home”, but he can restrict what seems a naturally extrovert style (requiring quite frequently double tracking to do what he must do but which isn`t humanly possible with only one outlet) to become almost conservative. When required – as in the dramatic tension of “Drifter”, where Bolin unloops the melody line to allow Hughes and Paice to battle their way through.
And Lord dozes off in the corner.
Well he has one other moment, besides the one mentioned earlier. And that`s during “You Keep On Movin`”, where Bolin effectively cuts a path for the organ to surface and then frames the resulting solo.
Maybe Lord felt he couldn`t contribute much more, even though that one solo is truly worthwhile and something similar elsewhere would have been a welcome contrast. Yet there`s also Coverdale straining for vocal space, and justly getting it, so Lord`s obviously observing the old Too Many Cooks proverb.
Whatever. Deep Purple are alive and well. This album proves it.

Deep Come taste

I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Tina Turner, Graham Nash & David Crosby, The Mika Band, Pub Rock Report 75, Melvin Franklin, The Chieftains, The Who, Hugh Banton (Van Der Graaf Generator), Baker Gurvitz Army.

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:
2. The offer should be 15 $ (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 New Musical Express, August 2, 1975

The last article I posted with Ritchie Blackmore as the subject was the most successful in the history of this blog.
Much of that success (number of readers was about 2400 the first day) was probably because the Official Blackmore page on Facebook chose to post it at their site. There are a lot of fans of his out there, but there are also a lot of Deep Purple fans out there too, many of them the same people, so will this post enjoy the same success? We will see!



Bolin`s zip gun does the trick

They were Deep. And very, very Purple. And very, very, very rich. Then somebody left. Then somebody else left. Finally Ritchie Blackmore left. Now there`s only two originals left. The whole thing is, can David Coverdale be said to be on a good screw and has the Bitchfinder General got the whole world sussed out?
Charles Vergette (in California) report.

“David Coverdale? No, never heard of him, I`m afraid,” says the Bob Haldeman lookalike, coming over from washing his car. “Are you sure you`ve got the address right? You might try down there,” he adds having to raise his voice over the sound of the thundering Pacific surf.
“He`s in a rock `n`roll band, Deep Purple.”
“Oh yeah,” comes Haldeman`s reply, his eyes flickering in recognition. “It`s down there alright, I`ve heard a rumour that there`s somebody down there like that.”
We finally locate the premises, right next door to Plum-Mouth. Thanks, man. Coverdale sneaks his head round the door. “You didn`t tell anybody else where the place is, did you?” he asks worriedly. We didn`t.
“I spend most of my time down here nowadays. I don`t like to go out much. You either go to a place that won`t let you in unless you`re wearing clothes to suit them or you go somewhere where people recognise you, come over and start laying down all sorts of shit on you about this and that,” says Coverdale as he leads through the kitchen into the living room.

It`s very chic: white furniture, white carpet, white walls, white table, white kitchen. Only a stack of records and the regular battery of tape recorders, amplifiers and a turntable betray the feeling that the place is best suited for a 40-year-old member of the nouveau riche.
Purple`s new guitarist, Tommy Bolin, walks in, his multicoloured hair glowing. It looked far more radiant in the afternoon sun than it had at the previous night`s lacklustre Bad Company show at the Forum where we`d first met.
How time flies! It`s nearly two years since Coverdale picked up his last boutique pay check before taking over Ian Gillan`s position as Purple`s lemon-squeezer extraordinaire.
Now Bolin`s the new boy with just three weeks of Purple membership behind him. A month ago the former James Gang/Billy Cobham axeman was sitting on his butt searching out a gig. Today he`s in the hot seat, having taken over the spot vacated by Purple`s founder, that doomy, dark and moody King of Heavy Metal Guitar, Ritchie Blackmore.
After a couple of hours drinking and enjoying the more exotic fruits of rock `n` roll success, the mood is hardly conduscive to serious conversation, but we try. Seems that Coverdale and I will make it, but Bolin is a little further out into the cosmos.

“Ritchie was worried about the direction he thought the band might be headed in,” opens Coverdale, getting straight to the cause of Blackmore`s departure, a move many had expected for months. “He didn`t like the soul that was creeping into the band. See, what Ritchie regards as funk are things like “Sail Away” and “Mistreated” and that`s the direction the rest of us saw the band headed in.”
Indeed, those two numbers, the bouncy “Hold On” and the haunting acoustic “Soldier of Fortune” on “Stormbringer” all marked changes for Purple, changes that the strongwilled Blackmore found hard to tolerate.
It was undoubtedly the introduction of bassist Glenn Hughes and Coverdale himself in 1973 that caused the marked realignment in Purple`s approach. First came “Burn” which saw a hint of the band`s infamous zomboid inhumanity being eaten away in favour of a more earthy approach. The pattern was exaggerated by months on the road to prove the worth of the new-look outfit. As confidences grew, Blackmore`s strangle hold over the band began to weaken.
Then came “Stormbringer”, a surprise to many die-hard Purple-haters. It served as consummation of the redirection its predecessor had pioneered. In essence, Blackmore`s guitar no longer held the rest of the band at gun-point.
Glenn Hughes` bass had created a far stronger rhythm section with Jon Lord`s organ and Ian Paice`s drums. Not only stronger musically, but stronger mentally. The Blackmore regime was over.

“Sure,” Coverdale agrees, between sips of white wine. “He was worried that the next album would be even more bass-oriententated. He wanted to go out and get the things he really wanted to do, the guitar things, out of his system so that he could get into being a fifth of Deep Purple without feeling compromised. So he went out and decided to do his solo album.”
Yet it`s hard to imagine Blackmore, ego and all, wanting to return to Purple if his solo venture worked. Once he saw new influences coming into the band that he didn`t like, and saw himself outvoted by the others, there was no way he could stay.
“Yeah, a lot of the songs on his album were ones that we all rejected for `Stormbringer`,” Coverdale concedes again, yet still adamantly refusing to say anything derogatory about his former boss. “He put forward a lot of ideas he knew we wouldn`t be interested in.”
Rumours started flying, each one adamantly denied by Purple management – who seemed to take any suggestion that Blackmore might split as a personal insult. The reason for the denials, says Purple manager Rob Cooksey, was that Blackmore had not yet decided to quit.


However when Rolling Stone quoted Blackmore as saying he considered “Stormbringer” a “load of shit” it seemed the end was nigh. “Ritchie never said that,” insists Blackmore`s mouth-piece, Cooksey. “It was a terrible piece of misquoting. The writer didn`t even put his name on the piece. Ritchie was really upset about it, especially because of what the other guys in the band must have thought.”
“We started the last European tour with Ritchie still a full member,” says Coverdale, explaining the final split. “After we`d done a couple of dates I began to feel strange vibes and knew something was going on. I went to see Rob Cooksey and I could just tell from his eyes that he was keeping something from me. I could sense that he didn`t want to commit himself because Ritchie had told him something in private and he didn`t want to break that confidence, even though it concerned us all business-wise.”
It finally transpired that Blackmore had finally reached the point of quitting.
“Now he can do exactly what he wants. I think he`ll be happier now: he`s got much more control with the people he`s working with. Instead of turning round to Jon and telling him what to play and Jon saying `I prefer it this way`, he`s got players who`ll do exactly what he tells them to,” says Coverdale adjusting his glasses, adding, “They`re good players too.”

The singer`s immediate reaction was to get on the phone and begin organising his own band. True to his soul roots, he got a horn section and chick back-up singers together first. “Then I suddenly realised I was calling Jon to play organ, Ian to play drums, and Glenn to play bass, so I thought, `what`s the point of doing it solo, why not keep the band together`?”
With Blackmore, the founding member, now joining the ranks of Purple refugees, some suggest the band should break up or at least change the name.
Coverdale gets very defensive about such talk. Very defensive indeed. “We still own the name Deep Purple, as far as people and musicians. We decided to keep it going because we wanted to keep working together, nothing else. We can keep it going without Ritchie. I think Glenn and I proved the band could keep going and maintain its validity with new members,” he says, getting edgey.
Ooops, sorry David.
Anyhow, having decided to keep it together, the first priority was to locate a new guitar player. Problem. Love him or hate him, Blackmore is a very distinctive player; those spine-searing, ear-bending riffs don`t come easy and though thousands tried to copy him, nobody got close.

Each member drew up his own list of choices and the names were pooled. Jeff Beck topped the popularity polls but, as Coverdale put it so succinctly, “He`s very much his own man and it would have been like taking on…” An even more determined Blackmore?
“Exactly, excellent! He`s very individual. It`s generally accepted that he`ll form a new band every month, go on the road or record an album, then disband it. It`s Jeff Beck and whoever else is with him is incidental.”
Next choice was Clem Clempson who was flown over from England to audition. He failed. “I think he`s suffered through his associations with Steve Marriott in Humble Pie. He`s just been a bandsman for too long, like a horn player with Duke Ellington`s band. He didn`t have the magic that we needed to inspire us all. You gotta remember man, that to replace Ritchie… well, you know. He wasn`t just anybody and you can`t get just anybody to replace him.”
Next in line to the throne was Bolin, an undisputed punk.
“I got on the phone to our agent in New York to find him because I thought he was an East Coaster and he told me Tommy was living just five miles away from me in Malibu. The management were a bit scared when they heard he`s played with Cobham: they thought, …`Oh no, a jazz-man`. But I called him up when we were both really stoned and we talked for half an hour about curry and chips and finally invited him down to a session.”

At the mention of his own name and getting stoned Bolin comes to life, brushing his peacock hair from his dilated pupils. The former replacement for Joe Walsh in the James Gang, then guest guitarist on Billy Cobham`s excellent Spectrum, Bolin tried to speak; “Uh… I`d been up all night… like… and I … er … wanted to call it off… but when we started playing…”
“He kept apologising,” interrupts Coverdale with a grin. “Saying `I`m sorry, really sorry, I haven`t played in ages` and I was just standing there going `Jesus Christ, there`s this phenomenal sound coming out, he hasn`t got his right guitar and hasn`t practised in months`.”
Bolin joined Deep Purple.
“Blackmore put a good word in for me, didn`t he,” he asks rhetorically.
“No, nobody said anything,” says Coverdale, slightly taken aback.
“You liar Blackmore… you lying…”


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own  webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Rod Stewart, Ray Thomas (Moody Blues), Speedy Keen, Ian Dury, David Bowie, Larry Parnes, Rainbow, Gil Scott-Heron, The Flamin` Groovies, Amos Garrett, Steve Hillage, Maria Muldaur.

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:
2. The offer should be 15 $ (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 NEW MUSICAL EXPRESS, December 28, 1974

Just a short one to end the year of 1974 – no pictures of Roger, so you will have to be content with the words. Quite an unusual project for someone connected to Deep Purple, but life is funny that way…it isn`t always what you expect!
Have a nice read!


Glover out of his cocoon?

…and participating in “Butterfly Ball”, of course. TONY STEWART checks out this unexpected activity by the ex-Purple bassman

“The Butterfly Ball And The Grasshopper`s Feast”, in the words of the publicity people, is (quote) “Nature`s celebration of Life”. If you`re cynical you may be inclined to regard the promotion of the book, album, cartoon film and eventual television series and/or movie as nothing more than a commercial gambit slightly more highbrow than the Wombles campaign.
But that would be a little unfair.
The hard-back book by Alan Aldridge and William Plomer has vividly colourful illustrations of the animals, insects etc that inhabit our land, a jolly story about the said ball – based on William Rosioe`s poems, first published in the 17th Century – and is of considerable educational value, with poems and detailed nature notes by Richard Fitter.
Published last year, it`s sold more than 200,000 copies and won the Whitbread Award For Children`s Literature. It has also been acclaimed by a substantial adult audience.

Now there`s an album of the same name, released recently on Purple Records with music, lyrics and production by former Deep Purple bass player Roger Glover.
Glover has not been particularly active since his split with Purple some two years ago, so why did he get involved in this rather unlikely project.
“Why does anyone do anything in business?” asks Roger rhetorically. “The people who published the book decided there was more mileage in it, and also that it could be made into a film – which was their original intention.
“It was decided that an album would create an even wider interest in the concept of the work.”
The theme, as Glover sees it, is fundamentally a message of love and peace, with a few ecological statements made both in the book and the album. It seems a far cry from Deep Purple, but Glover insists he didn`t do it just to shake off his previous image.

“I liked the idea of the book,” he emphasises.
“If you say it`s a book about loving people and forgetting your differences and joining together and having a good time and celebrating, it sounds very idealistic and a bit soppy. But I believe in it nonetheless.
“Ball” did present an opportunity for Roger to vent the frustrations he`d apparently felt with Purple. “Writing,” he explains, “was probably my biggest frustration with them, because I`ve always been a writer.
“And with `The Butterfly Ball` I had complete freedom. I started off trying to write the things people would expect from an ex-member of Deep Purple, which was wrong, because it wouldn`t have fitted the book.
“It had to fit the book, and it had to be part of something that`d maybe would become a musical or a soundtrack or whatever.

“That`s why,” he continues, “I hope it`s not dismissed as just another children`s record. There`s more there for people to listen to, I hope. I don`t think it`s entirely successful, but I`m reasonably pleased with it.”
The album is a condensation of the book, with Glover`s own lyrics replacing the poetry of Plomer but retaining the basic theme.
“Each song I`ve written stands up on its own. You don`t have to look at the book to get what you can out of the song.”
As mentioned earlier, this is really Glover`s first excursion into rock (the album is very much a rock record) since he left Deep Purple. It seems he`s been reluctant to deal with the business and the media, to the extent that he turned down the opportunity to make his own solo album.
“I didn`t really want to enter anything that was a big business venture,” he says. “I was offered enormous amounts of money to form a band and live off the name I had in Deep Purple. If I`d made a solo album immediately after leaving the band, there was every chance it would have been a gold – whatever it was like. And I resented that.”

Nice ad from the Faces.

Nice ad from the Faces.

I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Tangerine Dream, Nico, Santana, Ralph McTell, Woody Woodmansey, Alvin Lee, Gary Glitter, Edwin Starr, Keith Christmas.

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:
2. The offer should be around or upwards of 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.