EDITOR REMEMBERS... Issue
44 December 1992
44... Issue 44 was exciting as we leapt into colour for
the first time (and last time until Issue 56 in fact!). While
we were computerised, machines weren't capable of handling big
colour images, so it was a question of leaving some space, handing
the printer the slide and hoping for the best. It cost quite
a bit but the main problem with using colour was the time factor;
the colour printing took a lot longer. The shot was taken from
the upper reaches of Edinburgh's Playhouse in March 1987. It
was one of those spur of the moment things; DPAS man Peter Judd
said he'd hire the car (he later got a bollocking off the hire
firm as they saw him "testing the brakes" a little too sportingly
for their liking!), and we shot up on the day - hanging on for
grim death as the road began to switchback in the Scottish lowlands
and the snow started to come down. There was some aggro in the
band, Blackmore was in a bad mood over something, and it wasn't
the best ever show, but the view was teriffic - though by the
time we'd struggled down at the end of the show everyone had
left in double quick time.
Why the celebratory cover? Gillan was back in Purple! We started
to wonder when we began getting demo tapes from hopeful singers
arriving at the PO Box. Needless to say there was much comment
in the magazine and editorial, and worries that Gillan was in
effect being asked to work over guide vocals and finished tracks
in some cases, but after Slaves & Masters things could only
look up as far as many Purple fans were concerned, though Bruce
Payne apparently still blames me personally for bringing this
situation about. Never mind, as Mike Galway once said, he reckons
we should be knighted if that was really the case! Methinks
Bruce rather overestimated the power of the written word. The
reason for Gillan's return? 1993 was the band's 25th Anniversary,
and the label wanted Mk 2 back for the event - though in the
end they made precious little of it.
Beyond this news, 1992 had been a very dull year for fans in
the UK. One Gillan gig (though to be fair his touring schedule
did fill a whole page of the magazine!) and an Oxford charity
appearence by Ian Paice would have been it, had Glenn Hughes
not nicked a bass off Neil Murray and done a Brum tour which
effectively marked his return to form. Plenty happening elsewhere
though, with Singles As and Bs in production (hence the groovy
sleeves decorating the edge of the magazine). It was twenty
years since Made In Japan, so we had a look back at the band's
seminal live album, as well as celebrated Smoke's anniversary.
Suddenly everyone was starting to feel their age a lot. Still,
28 power packed pages and a Scandinavian singles discography
to boot; Issue 44 remains one of my faves for some reason.
44: DIGEST & INDEX
: Ian Gillan Back In Deep Purple
: The 1992 Toolbox Tour
: Sessions with Rakintzis & The Bolland Brothers
REVIEW : Oxford Apollo, July 19th 1992
: Missing Concerto Score
: The LA Blues Authority & Other Sessions
HUGHES (with John Norum)
REVIEW : Face The Truth
Gillan Back In The Band - News
Friday August 14th Joe Lynn Turner left the studios where Deep
Purple were working for a weekend at home. As far as he was
concerned everything was progressing. The band had started writing
late last year, and had been recording at the Greg Rike studio
in Orlando, Florida. There was talk of getting in Keith Olsen
to produce and they even had Jim Peterik from Survivor in to
help write. By August the backing tracks were mostly finished
and they'd got around to the vocals and lyrics. Titles like
PUT YOUR MONEY WHERE YOUR MOUTH IS and BAD BUSINESS (a bluesy
track co-written by Joe and Roger) were done and Turner was
due to return on the following Monday. That weekend he got a
call from Bruce Payne telling him not to bother.
whether Joe was the last to know or not I can't say. We started
to get strange mail several months ago, along with prospective
audition tapes. "Dear Sirs. I heard that Joe Lynn Turner is
leaving Deep Purple and my friends persuaded me to send in a
tape." We d heard the story too, back in July, via a contact
in Germany. Initially I must admit we put it down to the sort
of rumours that tend to circulate whenever a band has a lengthy
time off the road. Ian Paice, over for a charity show in the
UK hinted that something was afoot in America involving Roger
and Ritchie, but wouldn't elaborate. By early August we were
once more hearing stories about Turners departure, both from
America and Germany, and sourced within the music industry.
In late August Ian Gillan, busy preparing for a batch of European
festivals with his band, answered the phone to find Roger Glover
on the other end. Would he consider rejoining Deep Purple? Ian
being Ian soon had the story winkled out of him by fans backstage,
and when he returned home he found a fax from us waiting! What's
more he took time out to answer it and put us in the picture:
Yes, he had been offered the job, in effect to front Deep Purple's
celebratory tour and album in 1993. He was considering what
In 1992 - News
it was a bad gig, in fact Ian looked and sounded better than
I expected him to after a year on the road. Perhaps it was the
preponderance of "guest"stickers on the jackets of people who
looked like they'd rather be at home. This was the first time
we'd seen Dean Howard and he had a duff PA ("we can't afford
pyrotechnics!" quipped Ian when the gear blew), so it isn't
really fair to judge. The set list was as the last UK tour except
for the inclusion of Black Night." Lorraine Pickering.
The show Lorraine saw was in Milton Keynes on Sunday July 5th,
the news of which was timed awkwardly to miss our press date!
Mind you the only ad we saw managed to list him as Gillian yet
American tour was probably curtailed, and on June 19th/20th
the band were up in Finland headlining the Friday night bill
of the Drag & Rock festival (what?!) They also visited
the Faroe Islands. Is there anywhere left he hasn't gigged?!
Gillan were scheduled to play a gig in Germany and a festival
in Romania in early September, and were then looking to do pre
production work on the new album, through until early October.
Four new songs emerged during these dates, 'Hard On You' and
'Take Me To Your Heart' were two of the titles. I don't know
how much Ian's involvement with the Purple album interfered
with the Gillan band plans, but he is determined not to dissolve
the group and will be getting on with the album as the Purple
schedule allows, returning to them full time once the Purple
anniversary do is over.
Rakintzis & The Bolland Brothers - News
Ian went holidaying down in Geece from mid May through to June
but it turned into a bit of a busman's do; while there he recorded
tracks with a local singer called Michalis Rakintzis. Michalis
is a popular MOR Greek singer, and Ian has sung on three songs
for the album which was due out there in October. They've even
done a video shoot for one of the numbers. While there NAZARETH
were in town and Ian came on stage to introduce them, and returned
to do the encore - 'Tush' by ZZ Top and 'Smoke On The Water',
which (hard as it may be to believe) they could not play!
ARTISTS - THE BOLLAND PROJECT / DARWIN THE EVOLUTION Dino 9070117
: Germany :1992 CD/MC.
Ian Gillan does one track on this album and provides between
numbers links. The album did yield a big single hit for Barclay
James Harvest too. The project was dreamt up by the Bolland
brothers They had it in mind to do a concept LP, and after deciding
Columbus had been commercially exploited enough, turned to Darwin
after seeing a BBC documentary. They did the music and recorded
guide vocal tracks, which they sent out to various singers to
try ad enlist their help. Ian was up for it. The brothers plan
a video and live show, though I doubt the latter will ever come
off. The Bollands did express some interest in writing for an
Gillan's next album but I've heard no more about that.
Apollo, July 19th 1992 - Live
Paice was one of the all star guests mentioned in adverts and
publicity for a charity show in Oxford. With tickets priced
at £25, the "All Star Rock'n Roll in Aid Of Leukaemia Research"
gig was probably out of most people's reach, but as usual DPAS
reporters were on hand to bring us the news. Jerry Witherstone,
spurred by the idea of seeing both Ian Paice and Jon Lord on
a UK stage at least once this year (and with firm assurances
that both would be appearing), handed over his dosh. Jon was
unable to make it in the end, "The evening was organised by
Joe Brown, whose wife died recently from Leukaemia. Fittingly
their daughter Sam Brown opened the first half of the show.
The second part of the evening saw a guest band with various
star musicians coming on to do one or two numbers each. The
band were Bernie Marsden, Tony Ashton, the bassist from Bad
Company, a guy from Procul Harum and on drums Ian Paice. What
can I say about Ian, he was superb. He sat behind a black Pearl
kit which a drummer friend of mine tells me is a lightweight
kit suitable for studio work etc. Ian appeared to be enjoying
himself more at this gig than on any of the S&M shows I saw.
At the end of the evening he let rip with a trip around his
kit. Brilliant! Bernie Marsden sang 'Ain't No Love' and 'Fool
For Your Loving' which got everyone up out of their seats for
the first time that evening." Jerry also took some pictures,
one of which is shown here. A roadie pointed out that ticket
sales had been poor - 750 sold out of a 3000 capacity. Probably
a combination of low key publicity and very high prices.
For Group And Orchestra, Missing - News
had a call just after last issue asking if we knew where the
score to CONCERTO FOR GROUP & ORCHESTRA had gone to. It turns
out that a conductor in the UK is desperately trying to organise
a repeat performance of the work. He's related via marriage
to Colin Hart and has thus been able to get through to the band.
Jon Lord was really keen to give it a go, and even Ritchie had
given a tacit nod of approval. However Jon went away and realised
he'd lost the score! They tried Malcolm Arnold, the RPO archives,
everywhere, but no luck. All this was a couple of years ago,
but the recent Concerto video reissue prompted him to try us.
I couldn't help much. Many years ago I recall being shown a
dusty storeroom at Newman Street, and on the shelf was what
looked like the Concerto score (along with loads of other goodies).
Sadly when John Coletta finally moved out, this room was cleared
into a skip. I vaguely remember someone once telling me the
score had been published, but at about £250. Whether that's
true or not I don't know. If anyone has any bright ideas, let
me know. The conductor was sensible enough to realise that JLT
wasn't right for the part, but now that Ian is at least available,
there is one less obstacle to overcome.
LA Blues Authority & Other Sessions -
Further to the Trapeze dates reported last issue, I'm told the
gig at Walsall was the last ever at the Junction 10 Club. It
closed the following week. In the crowd for Trapeze's London
show were Neil Murray and John Norum. Dave Holland had to go
into hospital soon after for an operation, which kept him off
the road for some months. Glenn returned to the States. An open
air show on July 4th with Earth Wind and Fire never happened.
I'm told Glenn may also have made tentative plans to record
with them too but the atmosphere got a bit heavy and he pulled
out. Another source says he did two tracks with them. Glenn
has done three album sessions (two of which are out now), LA
Blues Authority, Lynch Mob and John Norum, .
LYNCH MOB is ex Dokken guitarist George Lynch's outfit. Glenn
was brought in to act as a vocal coach to their singer Robert
Mason during the recording of their second album recently. (I'm
not entirely sure what this entails. In the old days you would
get a good singer in to lay down guide vocals which the recording
artist would then try and match). None of Glenn's vocals were
used on the album in the end according to one interview with
Lynch, but other sources say Hughes is featured on backing vocals
for three tracks. George did get Glenn to do a track called
'Tangled In The Web', but this remains in the can. Glenn really
likes it and may try to record it himself some time.
ARTISTS: L.A. BLUES AUTHORITY. Road Runner RR 9186-1 : Germany:
1992 CD. It may be that Glenn's involvement with the LA
BLUES AUTHORITY set came about via the Lynch connection, as
it was taped while this was going on, and Lynch also plays on
a song from the album, which is a various artists job. The various
artists in question are a bunch of young guitarists, mostly
from the LA rock scene. Glenn does vocals on a track called
MESSIN' WITH THE KID, with his old sparring partner Pat Thrall
on guitar. The Blues Authority set above seems to have inspired
another similar album, but this time Glenn Hughes has done all
the lead vocals and some of the bass work on it. Indeed the
people behind it were trying to get him to call it a GLENN HUGHES
album. The band consists of Gary Moore's drummer, plus Tony
Franklin on bass (when Glenn isn't doing it). There's a whole
slew of glam rock guitarists on it, the guys from Ratt, Motley
Crue and Poison for starters. It will probably be released early
next year on Shrapnel Records in America.
Norum ~ Face The Truth - Album
The JOHN NORUM album is unlikely to be issued in the UK.
I've not really gone looking myself, but Helen Chappell has
sent us a review: " The title track is great, a good uptempo
song with a slight Hughes/Thrall flavour to it and some superb
vocals from Glenn. 'In Your Eyes' must be the "nice little ballad"
Glenn mentioned last time I saw him. I'm not all that impressed;
it sounds cliched and there's not enough feeling in it. I'd
expected something much more special. I am impressed with the
next track though, a cover of Thin Lizzy's 'Opium Trail'. I've
always liked Lizzy's music and this is a good version. Norum
does the singing, not Glenn, despite what the Kerrang reviewer
claimed. 'Good Man Shining' is also Thin Lizzy-ish, with a touch
of soul added-by you know who. Next up we have 'Time Will Find
The Answer', an average guitar/keyboard intro leads into a hard
rocker. The vocals are excellent and this is the first track
on the album where I felt the shivers down my spine as I listened
to him sing. Love it. 'Counting On Your Love' is another straightforward
rock track, but you can't really take it seriously with such
naff lyrics -"Let me be your private toy, let me be your lover
boy" - really! 'Still The Night' is a reworking of the Hughes/
Thrall song from the first Phenomena album, and it's a good
version. Glenn sings well, though I wish he'd played bass on
it too, and Norum does a good job though I still like the guitar
work of Galley and Thomas on the original. 'Distant Voices'
closes the album, more hard rock, again reminds me of Hughes/Thrall.
I was a touch disappointed, mainly with the production, but
Norum is an average guitarist at best and the album is very
commercial sounding, which is not normally what I like to hear
from Glenn, but I guess he can't sing like he did in Trapeze
to the top
in the magazine...
Purple CD Reissue Plans .... Deep Purple, BBC in Concert CD Reissue
.... Deep Purple Sweden & Norway Singles Discography .... Gillan,
1991-92 Gig List .... The Cher Kazoo CD .... The Music of Deep Purple
/ Moscow Symphony Orchestra CD Review .... Laserdisc Feature ....
Colin Towns Feature .... Made In Japan - '20 Years On' .... Video
Tommy Bolin; Unreleased Tracks Feature .... Questions & Answers
.... Vinyl & CD reviews .... Letters .... Books
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