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Al Erikson
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The Interviews Serie 1990 - 1998
I wanted to share some interviews published in frenchspeaking magazines from 1990 to 1998.
Those are my own translations in English, so sorry for the mistakes.
If you want the references, please PM me.
Interview #1
This interview relates to the promotion of "Slaves and Masters". This was the time where JLT was Deep Purple's savior. Always strikes me how businessmen can Purple members be...
December 1990 (MkV – interview with Jon Lord)
Int: So, Deep Purple is back on the road again. What’s on the programme?
JL: We are very happy with and proud of the album (Slaves and Masters). We have regained our cohesion and a quite positive energy. A band needs to create new songs to find a new energy therein. We got a kick out of the preparation of the recording. Ian (Gillan)’s departure and Joe (Lynn Turner)’s arrival have brought us into a challenging spirit which has motivated us a lot. Right now, we are starting the promotion in view of the world release, here in Hamburg, then we will go on. We just shot a videoclip based on “King of Dreams” that we presented in exclusivity yesterday night. We are about to start rehearsals for the tour, beginning of December, during 3 weeks, then a family break during X-Mas and New Year’s period. Then, the real business will start with the tour itself beginning of January. We all needed that to recover our belief, a true faith. You keep the feeling when you play new songs, you always need renewal. If we were touring sticking on our old material, I think we would end up on our knees. I really hope people are expecting new songs from us and that they will welcome our new stuff with enthusiasm.
Int.: Are you going to play songs from all periods?
JL: Absolutely! Everybody will make his choice and then, we will decide together. I think the fans will not be disappointed. We will certainly play our greatest classics, but also stuff that we rarely play on stage or that we’ve never played before. All that depends on Joe at the first place. We gave him all the albums so that he could select the songs he could perform. Anyway, we will plan everything during the 3 weeks of rehearsal, in December. But it’s Joe who will have he last word on it: we must do all it takes to have him comfortable on stage and well integrated in the band. Some snow and skiing before starting on and we will be ready to go. We haven’t been touring since 1987 and we are looking forward to get back on the road again. We just had a show in August 1988 in a big stadium with 90,000 people in the States, with Aerosmith which is a wonderful band. That is very seldom in 3 years. Apart from time to time appearances in clubs, we haven’t been doing much and I’m glad how things are turning out.
Int.: Previous albums were produced by Roger Glover and Deep Purple. Slaves and Masters is produced by Roger alone. Why is it?
JL: We needed to focus on the music. Take an active part in the production would have been an additional load of work. We therefore preferred to leave Roger deal with the production on his own. This was an intentional choice: this time we wanted to concentrate our efforts on the music only. Compositions, arrangements are already a huge workload and Roger is quite competent for that. We felt even more free somehow.
Int.: Let’s talk about the joining of Joe in Deep Purple. I’ve heard it caused some issue at the early stage…
JL: Absolutely! When Joe’s name was proposed, we were definitely against and Roger even said: “Joe Lynn Turner? No way!”. Then we organized auditions and when Joe’s turn came, he grabbed the micro and started to sing the track we were playing. In the next minute, I knew he was Deep Purple’s new singer. It was a magical moment, the kind of things we can’t resist, like it was the first time we were playing together! And despite all what had been said, he joined the band. The number of candidates was limited and Joe is one of the best hard rock singer. The choice was obvious…
Int.: Did you have anyone else in mind?
JL: Honestly, we didn’t. We tested an American guy, Terry Brock (ex-Kansas, Strangeways and Steve Morse Band), who is an excellent singer, but it didn’t work out. There was also another guy who was quite good and that we did consider, but he didn’t fit our style, our new direction. We also received a large amount of tapes from many various vocalists of all kinds and, apart from a guy called Jimmy whatever that we barely considered, there was nothing who could match Joe’s talent.
Int.: What happened with Gillan?
JL: Oh! I have always loved Ian; he has his qualities and his flaws. Among his flaws, there is his quite lunatic mood, and, like all people with a deep sensitiveness, the other side of the coin is not always easy. Ian decided to quit on his own and without our agreement. He choosed to leave and we choosed to go on. That the way that it is…
Int.: He just released a new LP. Have you heard it?
JL: Naked Thunder? Yes. I have. But I didn’t find it was Gillan at his best. Ian’s life is like a roller coaster. I was disappointed by this album, but I love the guy. He’s part of my life, he’s in my heart and I could never do something against him.
Int.: Let’s come back to the new album. Were the songs already composed before Joe’s arrival?
JL: No. We already had written half of the album but everything was reshaped when Joe came. Of course, when you change the vocalist, there is an impact on the music. And I think it would have been wrong to think we could have done the album without Joe’s presence. His joining really brought new blood in the band, new ideas and we are in great shape! We found a new enthusiasm…
Int.: Don’t you fear some reactions from the medias and from the public, like jokes on “Deep Rain Snake” or something?
JL: Yeah! Someone told me the same thing yesterday night when asking me if I was not afraid that we’d been called “Rainbow” because of Ian Gillan’s departure and Joe’s coming. To me, this would absolutely not be an insult, but more a compliment, ‘cause Rainbow is a great band. But, you know, there are four people in this band who know each other since 1969 and who play together for 21 years. If those people cannot play under the “Deep Purple” banner, then I surely don’t see who can. I really don’t care about spiteful gossip ‘cause, deep inside of me I know what I believe in and I also know we do have a good album.
Int.: You go directly from the album promo into the tour?
JL: Yes. The tour start in January and if the promoters don’t change their mind, we should start by Europe. We are rehearsing 3 weeks before starting and I’m quite impatient. If I could, I would leave today. It’s always the same pleasure, like the first time…
Int.: Let’s talk about the show. Will there be any new or unusual arrangements?
JL: Of course. We have a brand new, quite advanced, lightning system. We are the only ones to use it and the other bands will only be allowed to use it once our tour will be finished. We have the world exclusivity for it. It’s really unbelievable: I’ve never seen it before. I think it will impress many people. We also have a new stage set. Nothing really amazing, but we don’t plan to build castles, or make dragons appear, or monsters, or goblins, through the mist…
Int.: Indeed. This is not Dio…
JL: Sure! No lyrical fantasy! (laugh) The concept is quite futuristic. It looks like a kind of wave. There’s a screen behind the stage which can move in all positions with big projected pictures. The system also features two big mirrors which rise up right in front of us. The whole thing is fantastic! When I saw that, I was speechless.
Int.: Do you still play a long chorus, interpolating classical tunes, during which you rock your Hammond backward and forward?
JL: Well. That’s the kind of thing I do when I feel good on stage. That means almost every time! It’s true people are expecting that kind of thing, but I do it because I feel it, otherwise, I won’t be able to. But don’t worry: I can’t wait to go on tour…
Int.: What are your favourite tracks on the new album?
JL: I love “King of Dreams” which is the first single to be released, and “Fire in the Basement”, “Truth Hurts”, “Fortune Teller”, and most of all “Wicked Ways”. I’m quite happy with the whole album and I think the public will like it as well. You can trust me: it’s real Deep Purple!
Int.: Why issue such a bad live album as Nobody’s Perfect, which really fits its title, by the way.
JL: Yes, the well-named… We were at the end of our contract with Polydor and we owed them one more album. I must admit, it was the easiest solution. After that, we were even and we could sign with BMG where we were really happy to meet the same people who used to work with Polydor…
Int.: Do you listen to music apart from Deep Purple?
JL: Oh yes. I often listen to the radio, stations playing rock and hard rock. I must say you can hear quite good stuff although it often goes with incredibly rubbish things. I like Guns’n’Roses very much; it’s really a good band. The album is excellent, the singer, despite not having a great voice, has a good feeling. I hope the problems they’re going through will be worked out and that they will go on…
Int.: So, Deep Purple has a future…
JL: Definitely. Youth is first of all a mindset and we are really doing great! See you in Paris, beginning of next year!
Last edited by Al Erikson, 10/5/2008, 12:21
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"You and me Baby
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2/3/2007, 17:44
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Rezi
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Re: The Interviews Serie 1990 - 1998
Thanks, Al!
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New Media.
New Arse.
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3/3/2007, 8:58
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Al Erikson
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Re: The Interviews Serie 1990 - 1998
Interview #2
Interview of Ritchie focusing on his guitar technic. Some interesting anecdotes...
February 1991 (MkV – interview with Ritchie Blackmore)
Int: Slaves and Masters is the best album of Deep Purple since the reunion. How did the preparation and the recording of the album go?
RB: It took us no less than two years. First to write a coherent set of ideas. We needed good songs and strong rhythms. And we lacked a singer. Those we auditioned were either screamers or mono-tone. At the beginning of the auditions, the name of Joe Lynn Turner was mentioned and we agreed to reject him because he was Rainbow-marked. Finally, we tested him as we couldn’t find anyone else and it appeared from the very first verse that he fitted the job. When it comes to the recording, it is obvious that, with two years of preparation and the enthusiasm of finding the new vocalist we needed, we were in top-shape. The rhythmic section Glover/Paice in particularly is full of energy. This latest album is the result of a common effort by the band. There is no pedestal from which I’ll make a speed or technical show off. I abandoned that approach of guitar playing a long time ago. Now, I’m more into riffs and improvisation from those riffs. I make them turn, and when I play them for the 15th time, I still find a new way of handling them. I think that’s why this new album satisfies me more than the previous ones.
Int.: Improvisation has always been your strong point. How do you transcript that spirit in studio?
RB: I tried a new method with this album. I play alone in the studio with a rhythm box set on the exact tempo of the track I want to record. That eliminates all the usual limitations: I go where I wanna go. I can play whatever note I wanna play and there is no bassist to dissuade me or no drummer who would accelerate or slow down the rhythm by trying to follow me. Sometimes, I use only a metronome. I love the freedom it offers. After all, I’m a guitarist who likes to make off. I never learn my solo’s by heart. Some of them have basic elements which I can re-use, but I like to go in the direction I feel when playing them and that always ends up with a better solo than the one written on the score sheet.
Int.: You use a lot of trills in your guitar playing. Where do they come from?
RB: Maybe my nervous character (laugh)! Actually, I have always been impressed by Bach and his work features a lot of trills, particularly in the Brandburger Concerto which is one of my favourite pieces.
Int.: You also use harmonies in a minor key. Is it the influence of eastern music?
RB: Yes, I have had a lot of interest in the study of Turkish or Egyptian music scales. I really like those scales and they come to my fingers in a natural way. Must have been Egyptian in a past life! I also like the oud, the Turkish luth. In Germany, there are radio stations which broadcast stunning Turkish music.
Int.: You’ve always been a melodious guitarist and one of the first – if not the first – to use the sweeping, the legato and the arpeggio’s. How do you construct your playing?
RB: It all comes from the fact that I’ve never been a good cribber. My friends were. They just had to listen to a record once or twice and they could replicate the intro, the chorus or the verse in a perfect way. Myself, even when I tried to reduce the speed of the play-back to learn the solo, I always ended up with improvising after having learnt the first note by heart. And that’s when the different styles I’ve studied show up, from time to time. I first learned classical guitar with nylon strings. Then, I listened a lot to Duane Eddy, Scotty Moore and Cliff Gallup. After that, I discovered Django Reinhart before being influenced again by rock’n’roll guitarists like Tony Harvey and Big Jim Sullivan or discovering Renaissance music and luth.
Int.: Do you like Medieval music?
RB: Mostly Medieval dance music from 1520 to 1580. Most of the composers have remained anonymous. Others are famous like Susato, whose entire work is composed in that style. This music touches me a lot. I even happen to wear in Renaissance-style clothes to play luth music with an acoustic guitar. I even go out in the street wearing those clothes. It’s a kick!
Int.: Do you play that music on electric guitar?
RB: Never. The sound texture is different: electricity can only ruin the essence of Medieval music. Sometimes, I play it on keyboards synthesizers, using a church organ sound, but I don’t dress up as a monk!
Int.: When did you start playing guitar?
RB: When I was 11. I took classical guitar lessons, then I put a micro on an acoustic guitar which I plugged into a radio device. Then I bought my first amplifier, a Watkins Dominator. I played with several short-lived bands before behind hired by Screaming Lord Sutch and his band, The Savage. I then had a Les Paul and my Watkins Dominator, which was a 30 Watts amplifier. Lord Sutch was dressed up as Jack the Ripper and they were forcing me to wear animal skins costumes or Tarzan outfits. He (Lord Sutch) had a theatrical conception of the show, which I liked. Thanks to him, I could join The Oulaws, a studio band with Chas Hodge on bass - he used to play with The Heads, Hands & Feet with Albert Lee and he is now part of the duo Chas & Dave. The Outlaws worked most of all with Joe Meeks. We must have played on something like 400 records. After a while, I stopped counting. We backed Heinz on his hit dedicated to Eddie Cochran “Just like Eddie” for instance. We also played for pop singers I’ve never met! Actually, between 1962 and 1964, most of British pop music albums were recorded either with Jimmy Page, or with The Outlaws. I’ve also played on tour in England with rock musicians like Gene Vincent and Jerry Lee Lewis.
Int.: You must have amazing souvenirs of those tours…
RB: This was complete crazy! When I got hired to play with Jerry Lee Lewis, the musicians of Sound Incorporated – an instrumental English band which had played with him – warned me that he used to hit his musicians when they didn’t play the way he wanted them to play. The first night, I was very nervous. Jerry Lee came just before the show and there was no rehearsal. He sat at the piano and just said: “this one in C”, and the show was on. After two verses, he took a fantastic piano solo then he turned to me and said “Your turn, Boy!” (he was calling everybody “Boy”). Near the end of my solo, he got up and came to me. At that time, I was sure I was to punch me right in the face and I was starting to worry ‘cause my PA was to small for me to hide behind it. But he just shook my hand and grabbed my shoulder by saying he liked what I was doing. At the end of the tour, he wanted to bring me back to Memphis to play with him. At the same time, in 1963, Johnny Halliday also asked me to stay with him in France. But I didn’t want to live anywhere else than in England, ‘cause I’d seen my favourite guitarist, Tony Harvey, establish in France with Vince Taylor and The Playboys and lose all his interest in the guitar playing due to the lack of opportunity or attention from the French sponsors who were absolutely not motivated by rock’n’roll. That’s a shame because he was really the best of his time when he played with Nero & The Gladiators, then with The Playboys. I have modelled my playing on his during 2 years.
Int.: How did you come to form Deep Purple?
RB: After The Outlaws, I played some time with Niel Christians & The Crusaders (Jimmy Page’s first band). But I wanted to explore my classical and jazz influences. In 1964, I formed a trio, The Musketeers, and we toured in Germany. This was mainly an instrumental, very speed band. I was going from Chet Atkins to Django Reinhart and the “Fight of the Bumblebee”. This was rather weird for that time: we were dressed up in Musketeers with our sword on our side… Then, I formed Mandrake Root in London, and when that band split, I looked for musicians to go on and I met Jon Lord and Ian Paice. There was an instant common understanding between us and we formed Deep Purple with all those classical, rock and jazz influences that I finally could express in a new kind of music.
Int.: How did your playing evolve with Deep Purple?
RB: According to several main poles: Bach’s classical music, The Who’s influence which led me to play simple but powerful riffs and, from 1967 on, the influence of Jimi Hendrix. It’s when I heard him that I understood that I had to switch from the Les Paul to the Stratocaster. Then there was the Eastern music and in 1970, I started learning cello which it a quite exclusive instrument. I can say it now, I almost abandoned guitar in 1974. Finally, I gave up playing cello in 1975. But it brought me a lot. I composed “Stargazer” on the cello which playing has nothing to do with guitar’s. In that sens, it is an unique track which is the result of years of work.
Last edited by Al Erikson, 3/3/2007, 18:35
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"You and me Baby
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On the Discovery channel"
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3/3/2007, 18:30
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Al Erikson
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Re: The Interviews Serie 1990 - 1998
Interview #2 (cont'd)
Int.: Which guitars did you use?
RB: A Les Paul Gibson until the end of the sixties. I like their shape. Curiously enough, the Gibsons sound much better on Fender ampli’s. I’m currently considering getting a Gretsch Duo Jet which sound very much like the Les Paul, but those are old guitars that you rarely find in good condition. After that, I adopted the Stratocaster because I liked Hendrix’s sound.
Int.: Your Stratocaster is customized. What did you modify?
RB: The micros. I have used Bill Lawrence’s during a long time, but while intensively touring in the United States, there were some nights I could only get a permanent humming which was covering all I was playing. Many concert halls don’t have ground plugs and it was sometimes impossible for me to play.
Then, I put anti-interference micros. There are effective, but they limit the sound a little bit. Nevertheless, they allow me to play every night and that’s better than nothing. I though a long time that I was the only one to get interferences, but I tried other guitarists’ instruments during their soundcheck and I think this is a common problem you meet sooner or later. I remember Gene Vincent told me that Eddie Cochran used to stuff his 6120 Gretsch’s box with cotton so that he could avoid undesirable humming. And that’s way back in time: almost before WWII… (laugh).
Int.: The sound of your Strato with Deep Purple is quite personal. Where does it come from?
RB: This comes from my Marshall amplifiers which are customized in order to get more power from them. I always love loudness. I always use one amplifier at the time, with one 4x12 speaker. The sound must come from one source at the time: it’s much more precise. But my secret weapon is an old magnetophone that I had at home – it was already ld at that time. I have arranged it myself so that I can use it as an echo chamber and later, as a pre-ampli and an overdrive. It became an unique device and I can’t find anything to replace it. Most of the current sound effects reduce the sound despite what ads tell you, but you just need to try them to hear they limit the power. Except my old magnetophone… On stage, I can hear its part creaking, I feel like it is talking to me. It often goes out of order , but I always manage to fix it and I can’t do without it: it’s the base of my sound texture. No magneto, no concert: that drives my roadies crazy. They care very much about it and they even bought a special flight case for it. After unpacking it, they get very nervous about it and keep focused on it until they’re sure it works. After that, they feel easier to unload the main part of the PA system. Speaking back on the effects, I used a Roland GP6 on the album (“Slaves and Masters”) and a slide on some tracks.
Int.: You don’t use other effects? No wah-wah pedal?
RB: No. My sound developed naturally and I don’t want to change anything. This is not because of ignorance, I’ve been Big Jim Sullivan’s apprentice and I saw him use the first wah-wah pedal in 1959! I thought to myself “What’s that thing?”. Everyday, I’m proposed new racks and effects, but none is really effective for the moment.
Int.: Which width of strings do you use?
RB: 42/36/26/13/11/10. The 09 are much to light when it comes to the sound and they easily break. My mediators are rectangular with a, very hard, pointed end. They are different from usual mediators, with a rather strange shape. I use them for about 20 years now. One of my friends makes them especially for me. The way I hit the strings is very sharp but light. I leave the ampli’s doing the rest of the job. Left hand’s touch conditions right hand’s move, I think. With electric guitars, I rarely play in chords, I prefer the riffs on one or two strings.
Int.: Which acoustic guitars do you own?
RB: Some Washburns. I play “Love Conquers All” acoustically on the new album. I often work on acoustic at home, especially for Medieval and classical music.
Int.: Whenever you’re on stage with Deep Purple, which instrument do you listen to the most?
RB: Ian Paice’s light drum. I always stand beside of him because, most of the time, his light drum is not loud enough for the return sono. When we get out of a high energy instrumental part, it’s often quite impossible to hear anything in the return sono ‘cause Jon’s Hammond is playing at full power or because the PA is overdriven. That’s when Ian Paice’s light drum becomes indispensable.
Int.: Do you like neo-classical guitarists who claim to be influenced by you? Yngwie Mamsteen, for instance, always mention your name as an influence.
RB: He’s very good and much debated at the same time. But he does what it takes to. He ignores his opponents and explore new musical ideas. He is developing and maybe, with some maturity, will he put less emphasis on speed which always tends to distort the guitarist’s playing. But what he currently does is already great.
Int.: What’s your problem with speed?
RB: Nothing! It would not be fair from me to criticize it, because I long have been a speed guitarist when no one else was playing that way. But nowadays, there are too many guitarists using speed to show off. And that’s all they got, most of the time. They all play the same linear scales with Van Halen’s stamp and they can’t find heir own identity, even though many of them are good.
Int.: Scott Henderson, the jazz-rock guitarist, always brings a tape with your intro’s and solo’s with him. What do you think about it?
RB: I didn’t know that. Personally, I don’t listen to my own music. Once I have recorded it, my only aim is to go and sit down with my guitar, searching for something new. And that’s very difficult, much more difficult than playing again the same songs during 10 years. But I prefer creating, that’s the only way. That causes me trouble when I have to learn again Deep Purple’s song from 15 years ago to play them on tour.
Int.: You recorded the album in Orlando, Florida, and that’s also where you are rehearsing?
RB: Yes. We still live in England but we settled in Florida for the new album. Then we’ll leave for the tour.
Int.: Will you tour in Europe first?
RB: We’ll play in Poland and in Yugoslavia before visiting Paris in February. We thought about playing in Russia, but during wintertime, transportation problems are practically impossible to solve. Maybe after the US tour next summer. See you soon on stage!
Last edited by Al Erikson, 5/3/2007, 13:09
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"You and me Baby
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On the Discovery channel"
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3/3/2007, 18:31
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Al Erikson
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Re: The Interviews Serie 1990 - 1998
Interview #3
September 1993 (MkII(c) – interview with Ian Gillan)
Gillan speaks of his re-joining in MkII(c) with some bitterness... and bad faith
Int: Before talking about the new album (“The Battle Rages on”), can you tell us if your solo career and the “Naked Thunder” and “Toolbox” albums were flops or not…
IG: If you consider my latest solo attempts with the necessary back stand, it is true that they were no commercial successes. I think I’ve always been followed by this “Deep Purple singer” image wherever I go. Ten years ago already, the Ian Gillan Band had already suffered from this association Deep Purple / Ian Gillan. Unfortunately, it was inevitable. As far as the albums you just mentioned are concerned, “Naked Thunder” is an album I still enjoy, but it was recorded with studio session musicians. When the time came to perform those tracks on stage, I could only be accompanied by a “bar band”. At the end of the tour, I knew I couldn’t count on those musicians anymore. Then the records company wanted me to make a rock album, therefore I was screaming on the next one, “Toolbox”… But that was not really how I felt it should be, at that album doesn’t quite satisfy me ‘cause the musicians had a lack of substance and vision. After that, I finally found out the guys who fitted, but then came the Deep Purple proposal, at the most awkward moment…
Int.: Thus, your solo career is over now?
IG: Not at all. I’ve plenty of new songs taped as demo, and I will release new albums under the Gillan name.
Int.: Then, why did you join Deep Purple once again?
IG: The pressure from my entourage was so strong I couldn’t resist it. At the beginning, I had definitely rejected the proposal and I would rather cut my throat instead of singing again within Deep Purple. But I’ve given in, I admit, because of the pressure on my shoulders from the other band members and from the records company.
Int.: Does the pressure from a records company still influence you?
IG: In fact, that’s the first time of my life that I’ve given in to such a pressure. Before, I used to swim against the stream, following my own will. Actually, it’s our tour manager (Colin Hart) who succeeded in convincing me once for all. He told me that it was the 25th anniversary of Deep Purple and that I had nothing to lose in joining the project.
Int.: It looks like you’re always asked to (re-)join Deep Purple when there is something to celebrate…
IG: That’s not true. At that time, “Perfect Strangers” was a fully honest attempt to re-launch Deep Purple once for good. That album was the result of a good mutual feeling between the musicians who wanted to show what they were able to do, and it’s a good album. I wouldn’t say that for the terrible live “Nobody’s Perfect”. When you think how great Purple can be in a good day! But in a bad day, it’s a real disaster! My main reproach to Deep Purple is that the band doesn’t progress, it doesn’t take any risk. On the other hand, what would people think if the musical direction of the band changed? I think Deep Purple is prisoner of its unique sound and of its legend. Some albums like “Fireball” and “Machine Head” were great, but that was not the case for “Who do we think we are” and “The House of Blue Light”. There was no “sacred fire” in those albums, and I immediately felt that. To the contrary, the other members were quite satisfied with such albums which I called “routine stuff”.
Int.: By the way, are you a Purple fan?
IG: I have to. Let’s say I still enjoy some albums when others make me run away. I was proud of each album at its release, but with the time, I changed my mind on some of them. Today, since I decided to join the band again, I want to give myself at 100% to offer a new shining face to the band. For how long? Only time will tell…
Int.: Sincerely, what do you think of “The Battle Rages on”?
IG: I think it’s a quite good Deep Purple album, ‘cause it’s relax. The band didn’t try to make life complicated and only seek to strengthen Deep Purple’s identity. We have nothing to prove to others, only to ourselves…
Int.: But you were just complaining about the fact that the band didn’t progress! What do you mean by “musical progression”?
IG: Certainly not that the band makes techno or rap music, that wouldn’t work! Actually, Deep Purple must have a strong and intangible identity. The band must count on all its capacities: that unique Hammond sound by Jon Lord, the Ritchie Blackmore’s guitar style and their alchemy that happens in the good days. I see musical progression as a return to naivety. It is true that most of the people think that progress means adapting to fashioned trends, but that’s stupid. Fashion doesn’t mean musical progression. Find that innocence back as it was obvious when we started, that is what going ahead actually is. Then the music is not formatted as it is on “Who do we think we are” and “House of Blue Light”.
Int.: Is the band now based on a solid team?
IG: Musically, there’s no doubt about that. From the human relations perspective, that’s a different story, ‘cause we all have difficulties with the guitarist. Everybody knows it and that’s no secret at all. With him, you must use his energy instead of fronting it, ‘cause nothing positive comes from such a confrontation. I remember some fights within Deep Purple along the years, and that was everything but funny.
Int.: However, on stage, night after night, he will perform the classic standards of the band, because that’s what the public wants to hear. Is it a concern for you?
IG: Could be if a certain balance is not maintained. These last years, I had a lot of pleasure performing “When a blind man cries”, “Maybe I’m a Leo” or “Mary Long”. I would like Purple to put those songs on the set list, but I doubt they’ll do it. It’s not a crime to play “Highway Star” or “Smoke on the Water”, but I don’t see the need to perform “Child in Time” every night. Such a song should only be performed if the feeling’s there to do it. The lyrics are quite absurd and seem quite remote from the current problems of the world. I don’t wanna play “Strange Kind of Woman”, “Woman from Tokyo” or “Black Night” every night at the same hour. That’s for sure. When we will be touring, we will play numbers from “The Battle Rages on” and that will bring a lot of freshness. Roger Glover and I have made a list of some 30 songs that we’d like to play on tour, but as the “King” must agree with it, we are still unsure about it. You must know that there’s only one person in charge in the band and that’s the guitarist. Actually, he doesn’t take positive decisions, but just announces what he won’t play. We want this tour to bring good vibrations and that the young people who haven’t seen Deep Purple yet be satisfied of their evening.
Last edited by Al Erikson, 5/3/2007, 13:02
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"You and me Baby
Are nothing but mammals
So let's do what they do
On the Discovery channel"
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4/3/2007, 16:13
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Al Erikson
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Re: The Interviews Serie 1990 - 1998
Interview #3 (cont'd)
Int.: When you talk of “return to innocence”, it seems obvious that it is the case with “Ramshackle Man”, that blues’n’boogie which sounds curiously similar to “Green Onions”, the famous hit by Booker T & The MG’s…
IG: That’s absolutely true! When I listened to the 10 songs before laying the vocals on it, I remember setting up a list for fun and I actually named “Ramshackle Man” our “Green Onions”. That all came from Ritchie who wanted Purple to get back to its musical roots. No matter the guy’s a pain in the arse, he has the merit to know what he wants and to make it known… Today’s Purple wants to have pleasure and that’s why we revisited our bluesy rock roots.
Int.: By the way, that “ramshackle man”, it’s you, isn’t it?
IG: No doubt about that. It’s my spitting image…
Int.: Do you think the young generation of rock fans will accept Deep Purple?
IG: The answer is in our hands. If we do a good job, I think the young fans will follow us. On the contrary, if we become more pompous, it won’t work and we will only have to blame ourselves. The instrumental demonstration doesn’t interest people anymore, we have to be aware of that. In fact, the only problem might be Ritchie and his instable mood. If he doesn’t want to get back on stage for the encores, we won’t be able to force him. But that could be harmful for the whole band.
Int.: Frankly speaking, did Deep Purple reach the “stand or die” point?
IG: No, it has always been the case since the birth of the band. I hope the new songs will bring a new enthusiasm in playing and that we will reach a cruising speed that will keep us from disappearing for the moment. We have to feel relax.
Int.: Is it possible considering Ritchie Blackmore’s uncompromising personality?
IG: It has to be, if we don’t want this “renaissance” of Purple be a fake event. If you analyze Ritchie’s character, you surprisingly find positive aspects in it. Now, I consider Ritchie from a different standpoint. Musically, he has a lot to bring to the band, and that’s the most important thing. On the contrary, as far as relationship is concerned, he’s still a pig head. Recently, Purple has been presented an award and a lot of journalists from the whole world came to attend the event. At the last minute, Richie cancelled his participation. Typical from him. A journalist suggested he might suffer of earache. I answered that whatever it was, it couldn’t be hemorroids, cause everyone knows he is a perfect asshole! This is something I wouldn’t have said a couple of years ago, but now I feel totally free to express myself and to let people know what I think about him. I can even forgive Ritchie for some aspects of his character, because he has the merit to know where to lead the band. That being said, I won’t go on vacation with him.
Int.: Have you met young musicians who recognize the influence Deep Purple has had on them, when many artists recognize the importance of Black Sabbath?
IG: Yes, but since Black Sabbath was at the origin of Heavy Metal, they are more recognized than we are. Deep Purple has never been a Heavy Metal band, because we preferred blues-tainted and melody hard rock to it. If Deep Purple’s impact on young musicians doesn’t appear as substantial as Black Sabbath’s, it is because we’ve never been grunge, when Ozzy’s band is really at the root of that style. That being said, we have had an influence, especially Ritchie and his very particular guitar playing which is very demanded by young budding guitar-heroes.
Int.: Why is it you who are in charge of the new album promotion? Don’t the other members feel involved in such task?
IG: First of all, Ritchie doesn’t make interview and couldn’t care less. I’m sure he doesn’t even know I’m here on a promotion tour to talk about Purple. He’s much more keen to play on a soccer field. Ian Paice must probably be at Barclays Bank to check the values of his shares. As for Jon Lord, he's certainly on a gastronomic tour, tasting some good wines, while Roger Glover is having some rest after dealing with the production of our new album. That’s why I’m here. It is true that it would have been embarrassing for them to make interviews, because they would have had to explain why they called me back in Deep Purple.
Int.: Apart from Purple, do you currently have other activities?
IG: Yes. I just finished my autobiography and I have written a musical comedy. You never know what could happen with Deep Purple, that’s why I take precautions. With that band, I’m living on the edge, but for now I decided to fully invest myself in the reunion and I sincerely hope it will be successful. Now, I won’t take a bet on how long it will last…
Last edited by Al Erikson, 5/3/2007, 13:08
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"You and me Baby
Are nothing but mammals
So let's do what they do
On the Discovery channel"
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4/3/2007, 16:14
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MrsSnap
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Re: The Interviews Serie 1990 - 1998
What a work! And very informative.
Thank you, Al.
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4/3/2007, 16:27
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Al Erikson
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Re: The Interviews Serie 1990 - 1998
Thanks Mrs Snap.
Extra-interview - Glenn Hughes
Apart from the Serie (and as a bonus), here is an interview-confession with Mr Glenn Hughes, reviewing past work...
September 1993
Deep Purple (1973-1976)
GH: The big moment with Deep Purple was the 1974 California Jam, like a big vision. I never, never had a bad show with that band! The combination of David Coverdale’s vocals and mine sounded pretty good. We were one of the only hard rock band at that time with two lead singers. This didn’t mean extra-efforts. With Trapeze, I got a strong education when it comes to the ambivalence vocals/instruments. Anyway, Deep Purple was Blackmore’s band: all I had to do was to come and play, do my job as expected.
Nevertheless, I think that my arrival in the band really caused a change of sound, which ended up with the dead of Deep Purple’s original foundation. That’s sad but true: we were quite far from “Machine Head”, from Heavy Metal, maybe closer to Funk Metal or so. Anyway, many fans didn’t like the change of direction. Yet, I had warned the guys before joining: “Jon, Ritchie, Ian, listen: if you let me play in Purple, something’s gonna change. I play it the way I play it. When you’ll fill the times, I’ll play only one for two. Just for the swing…”
But they didn’t care: for them, it was settled. The truth was that nothing was settled, nothing was OK. Ritchie was the first to leave the band, disoriented by the new heading. One word on him: Ritchie Blackmore is a showman, first and above all, and also a guy with whom it is difficult to get along. But I truly respect him for his attitude and his ability at the show, as well as for the inspiration he gave to many young musicians.
Play Me Out (1977)
GH: This was just after Purple’s split. I was released from this mediatic monster and I strongly wanted to let explode all the music I had kept inside of me since Trapeze. “Play Me Out” is somehow the continuation of “You Are The Music” by Trapeze, its natural offspring. The only thing wrong with that album is its extreme diversity. Originally, I wrote it on my own, playing with a computer keyboard, but the songs’ arrangements were not really finished. That was just what I needed to hear at that time without considering the solo’s or possible singles. This album was a little bit like a roller coaster, a training field for my voice.
Hughes & Thrall (1982)
GH: The best one! Even though the album was ignored by the public at the time of its release. We have often envisaged a further collaboration, but it didn’t happen. Pat preferred second guitar job, with Niels Lofgren, notably. Yet, we had the opportunity to work again together, three years ago, with Pat, Mel Galley and Dave Holland, all my mates, when I started to write the canvas of my next solo album. But curiously enough, what came out didn’t correspond to what I wanted, so I eventually erased the tapes and started again.
Gary Moore (1985)
GH: This was a good job. Normally, I should have sung on more tracks, but it didn’t work through. Actually, I think I was basically not ready to work under Gary Moore’s command. Don’t get me wrong: Gary Moore is an incredible guy, I really appreciate him as a person and as a musician. He’s truly amazing. But, at that time, I was not ready to show on stage with Gary. Lots of things were said in the press through him about that, some were true, others were completely false. Anyway, today I’m sure of one thing: we are true friends again and that incompatibility of personalities belongs to the past. Gary’s renewed success is crucial: it would have been a tragedy if he wouldn’t have got the place he always deserved and where he is today. To me, he’s the best guitarist in the world. I say it again: Gary Moore is the best guitarist in the world!
Black Sabbath (1986)
GH: Horrible! At the beginning, I got a phone call from my friend Tony Iommi who proposes me to come and sing on two tracks of his new album. “Of course” I say “I sing two of them if you want me to”. Then three, then four, then the whole album eventually. OK. Then Tony goes further and says “Glenn, what about touring with me with the album?” Well, there we go! Preparation, rehearsal, and just before the departure, Tony and the others call me to tell me we will tour under the Black Sabbath name! ****! There I am, singing “Iron Man”, “War Pigs”, Man! that’s ****! Well, it was a complete mess with the voice. As a bad thing never occurs alone, the day before the start of the tour, I have a fight with the production big boss which ends up with a bleeding nose for me. At the third night of the tour, there was so much blood in my throat that I lost my voice! There were some rumours according which I couldn’t sing anymore, but the truth was that I’d been hit in the face. Besides, I have no grudge against Tony. Anyway, nobody – I say nobody – in 25 years of career could make me blame someone else. This is such a crazy business: it would not be fair to judge anyone because of it. After all, we’re all on board the same boat, aren’t we?
Int.: What the secret of your longevity?
GH: I’m a fan… of other vocalists. The day I’ll stop having fun in listening to others, is the day I’ll be over…
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"You and me Baby
Are nothing but mammals
So let's do what they do
On the Discovery channel"
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4/3/2007, 18:52
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Apolllo
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Re: The Interviews Serie 1990 - 1998
The Gillan interview is really great, thanks a lot !
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5/3/2007, 16:27
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Ormandy
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Re: The Interviews Serie 1990 - 1998
quote:
We [deep purple] just had a show in August 1988 in a big stadium with 90,000 people in the States,
Was that show taped or filmed?
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5/3/2007, 17:18
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