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Rose in Hell

A new version of the track Rose in Hell featuring Glenn Hughes and Ian Paice will be released on Turkish Delight III album, a project run by UK record label Escape Music. The song was originally featured on the first Moonstone Project album Time to Take a Stand, released back in 2006. The new version features Paicey and Hughes, along with Mike Slamer on guitar, Chris Child on bass, and Adam Wakeman on Hammond. The parts by Hughes and Paice are slightly different takes from the original 2003 sessions, while guitar, bass, and keyboard parts have been recorded anew.

Turkish Delight project is named after Khalil Turk, a chap who runs Escape Music, and is celebrating 30 years of the label. Also, from the extended Purple family, Ronnie Romero (Rainbow), Dino Jelusick (Whitesnake), Steve Morris (Gillan), Brian Tichy (Whitesnake), Greg Smith (Rainbow), Marco Mendoza and Joel Hoekstra (both Whitesnake) are all one way or the other affiliated with the label.

In related news, Escape Music will also release a completely new version of the whole first Moonstone Project album with new production, some new arrangements, new solos, and a brand new track featuring Ian Paice on drums. (Fun fact: for this session, Paicey used the very same old cowbell he used in 1973 for the Burn sessions). The album will be available on limited edition vinyl, CD, and digital. We’ll furnish further details when we have them.

Thanks to Matteo Filippini for the info.

[Updated Jan 13, 2024, to clarify what’s new with this release of the track]

20 Comments to “Rose in Hell”:

  1. 1
    Uwe Hornung says:

    Needless to say I like it!

    I know that Glenn’s heart is not really in it, but he always sounds good doing AORish stuff.

  2. 2
    James Steven Gemmell says:

    Sounds solid!

  3. 3
    Uwe Hornung says:

    I’m hijacking, here’s another rose …


    It just goes to show that Dio era Rainbow and BN have a gulf between them that can be bridged. It’s not perfect (the song’s key is plain too high for Dio’s voice), but it gives you an idea what could have been.


    The same reservations apply with these tracks, not perfect, but in an alternative universe …




    That SYBG version reveals just how damn high Bonnet’s original was and how all other Rainbow singers dread singing it.

  4. 4
    max says:

    Some of those sessions Glenn did I found a lot more enjoyable than some of his solo work. Voodoo Hill’s Waterfall for example got much more spins in my car than California Breed or Resonate will ever get. How Do You Hide The Blues You Got from that Moonstone Project is also worth tracking down I think. As we read the man is working on another solo album I hope it will be in the vein of F.U.N.K. – his best effort in years as far as I am concerned.

  5. 5
    Coverdian says:

    ad 3 Uwe: I can´t help but i nearly cried (Ghost of a Rose). I know I know its AI cover, but its so Dioish, so beatiful. It drifted me back in time when I heard RAINBOW EYES fort the first time and his voice beautiness covered me from tips of (mighty back then) hair to the heels.

  6. 6
    Uwe Hornung says:

    Glenn’s voice is so idiosyncratic that he can elevate even the blandest AOR melodies (not knocking it, I like AOR: Night Ranger, Journey, Rick Springfield, you name it) to something special. Hughes Thrall, From Now On … and the lion’s share of his sessions with others were all essentially AOR(ish). But Glenn’s own work mostly eschews a pop influence, a lot of intentionally jagged jazzy/RnB-y chord structures – he has said himself that he is “not pop” – avoiding conventional tuneful- or catchiness, I even detect a hefty Grunge influence in a majority of his solo releases in the last 25 years or so (admittedly, Grunge did little for me, Alice in Chains perhaps excepted).

    Yes, F.U.N.K. was good, so was Feel (he should perhaps only record albums starting with an “F”?!):


    That song, if sung by a black artist, would have been in the US RnB charts I swear.

  7. 7
    Coronarias says:

    Forgive my naivety – were Glenn and Ian in the same room? At the same time? Sorry!

  8. 8
    Matteo Filippini says:

    Here you can find the official lyrics video

  9. 9
    Uwe Hornung says:

    Coverdian, to quote Sheryl Crow: “If it makes you happy …”, here’s an encore:


  10. 10
    Uwe Hornung says:

    Coronarias, only Matteo could be an eye witness for the answer to your question, but in this day and age and as the recording processes of multi-musicians projects such as Matteo’s go, a joint presence of Glenn and Ian was probably unlikely.

    But that is not to say they wouldn‘t have done it: I have never heard either one of them say anything negative about the other as a musician: Glenn was a fan of Paicey‘s drumming and Little Ian‘s drumming wouldn‘t have developed the way it did between 1973 and -76 if it hadn’t been for Glenn‘s bass groove which accentuated space more than Roger‘s smooth flow of notes. They were both on stage together at Jon‘s commemoration at the RAH playing Mk III and MK IV numbers – though Glenn only sang and did not play bass at that event.

  11. 11
    Uwe Hornung says:

    Related: Late last year saw the release of

    ‘Trapeze – Lost Tapes Vol. 1’

    which also features unreleased tracks with Glenn. I only found out now and my copy hasn’t arrived yet, but this here sounds promising, it’s unadulterated Glenn:


    Certainly, Pete (Pardo) is wetting his panties about it! Good man.


  12. 12
    DeeperPurps says:

    Uwe @10. I have previously seen photos of Gillan and Hughes together in the early 1990’s while Gillan was on the outs with Purple. I have found a Spanish website which discusses the “ghost recordings” of Gillan/Hughes; but seems none have been found so far. Here is that website (in Spanish language), but hopefully your browser can translate. http://eltablerodeajedrez2000.blogspot.com/2019/11/ian-gillan-los-discosgrabaciones.html

  13. 13
    Uwe Hornung says:

    Where may I kiss you first, DeeperPurps, this is lovely! Never seen a pic of the two together (except at the RRHoF), if they ever recorded something together I’d soooo like to hear it! Unlike DC who Big Ian hardly ever acknowledges, I remember a Gillan quote about Glenn along the lines of “One of the greatest British singers ever, but he wastes his talent trying to be someone else.”

    This track from that site is great, could have been on ‘Feel’:


    I hear the catcalls already, I know I’m a wuss, but I actually dig it when Glenn does that George Michael’ish stuff. I sometimes think if he had dumped his hard rock history with DP in 1976 unceremoniously, cleaned up his addiction, gotten a haircut, worn a suit and stuck to his RnB love as evidenced on Play Me Out, he could have well become a commercially viable white soul artist like, say, Robert Palmer, Michael Bolton, George Michael or Mick Hucknall from Simply Red. I’d have followed him, hey I’m the guy who tremendously enjoyed a Boy George/Culture Club gig in Cologne only a few years ago (my wife and I were pretty much the only non-queer couple there, but it was a lovely concert).

    Not that Big Ian hasn’t dabbled with Philly Sound/disco himself!


    Lovely track (I already admitted I’m a wuss)! Not to forget that George Benson’ish guitar solo towards the end.

  14. 14
    Uwe Hornung says:

    Here’s all 14 songs from the new Trapeze release:


    Not all of them with Glenn, Mel Galley (not a bad singer in his own right, it was part of the reason why DC wanted him for Whitesnake) and Pete Goalby (once slated as Dio’s replacement in Rainbow, but Graham Bonnet was preferred in the end) sing some tracks too, but still a treasure trove (Mel sings lead here):


    On tracks like these here (with Glenn singing and playing)




    you hear exactly why Blackmore was attracted to Glenn’s forceful, upfront bass playing which took no prisoners. Ritchie wanted the DP rhythm section to sound radically different from Mk II days and he got what he wanted until buyer’s remorse set in for him with Stormbringer.

  15. 15
    DeeperPurps says:

    Uwe @ 13…. I thought you might like that hidden treasure! Somewhere in my archives I have a larger photo of Gillan & Hughes standing together arm-in-arm in front of the Hard Rock Cafe in London. I am currently digging for it and will try to track down the site where I originally found it. Will let you know if I do.

    Indeed, a lost recording of a duet of those two fine singers together would be the Royal Purple Holy Grail. Hopefully something might surface eventually.

  16. 16
    Max says:

    @11 Thank you for that one, Uwe – it had not come to my attention that there’s a new Trapeze-release out. Just ordered it.

    And of course FEEL is another effing highlight in the man’s carrer – even if it’s as 90s as can be. Coffee and Vanilla is an all time fave here.

  17. 17
    Uwe Hornung says:

    Max, I’ve meanwhile received mine. Glenn sings definitely lead on tracks 3, 8, 9 +10 as well as possibly co-lead vocals + backing vocals on track 5 (a song that sounds like Mel wrote it for Whitesnake, it wouldn’t have been out of place on Slide It In and one of the better numbers there to boot!):


    Track 7 sounds like Glenn at first casual listen, but it’s actually Mel doing his best Glenn Hughes impression!


    With some added parts (his trademark diminished and extended jazzy-RnB’y chords) from Glenn as belated co-writer that song would later morph into ‘Chances’ from Trapeze’s eponymous 1975 album where it was indeed sung by Glenn as special guest:


    I believe I hear Glenn on backing vocals on track 13 as well (otherwise sung by Pete Goalby):


    – the chorus is of course familiar to anyone who owns the Hughes Thrall gem of a record:


    Glenn might also do some backing vocals on track 2 (an alternative version of Trapeze’s bonus instrumental Dat’s It on their 1974 compilation “The Final Swing” only this time with Mel on lead vocals) and on track 11 also sung by Mel on lead. But Mel might have also just multi-tracked himself, his voice sometimes emulates Glenn’s to the point it’s uncanny. (But he ran into issues doing that live eventually – not everyone has Glenn’s leather vocal cords -, hence the arrival of Pete Goalby in the final stages of Trapeze’s career.)

    But those four tracks with Glenn on lead are worth the price of admission alone. That said, Trapeze are a good listen even without Glenn. With their heavy funk influence (which they retained even after Glenn jumped ship to the HMS Purple aircraft carrier) they were very much ahead of their time.

    Never mind how on these sacred pages hardly anyone seems to give a furry rat’s ass about them! Your loss.

  18. 18
    Matteo Filippini says:

    Uwe and Coronarias: Paice and Hughes recorded in two separate studios years ago.
    On the new Moonstone Project release later this year you’ll find another track with Paice/Hughes and two unreleased tracks with Paicey on drums.

  19. 19
    Uwe Hornung says:

    Grazie mille, Matteo, it will be another addition to my collection! Keep us posted about the release date.

  20. 20
    Luke Dempsey says:

    The whole reason Glenn’s so distinctive is singing hard rock in a pure soul voice. That’s the magical combination. For a long time now, he’s sung rock songs in a rock voice – it’s good, but it’s not half as remarkable as it would’ve been if he’d kept the soul singing. So it’s really great to hear this!

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