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Particularly, the fans

Ian Gillan talks about Deep Purple’s journey to musical freedom. This clip appears to be a part of the promotion campaign for the new album.

35 Comments to “Particularly, the fans”:

  1. 1
    Gregster says:


    A most excellent bit of video, that will keep-a-few-in-here quiet perhaps…

    Well said IG, & it looks like the next-feature maybe Simon…

    Peace !

  2. 2
    Harold Sorensen says:

    While deep purple has been my favorite band I don’t really liked how Ezrin polished their sound, killing the guitar sound and magic of Morse I sure hope that that there will be more guitar now.

  3. 3
    Harold Sorensen says:

    He did the same to Morse while he was in Kansas

  4. 4
    AndreA says:

    Yes but at least I would like to hear more blues than prog..

  5. 5
    AndreA says:

    I agree with you, I’m also afraid that on this album the drums also sound bad (mainly tom tom drums)

  6. 6
    Wiktor says:

    I understand what Gillan is saying about being free to write whatever music they want, but no need to put down the fans.
    theres a reason why fans like Purple, its because of their sound and their songs, songs like Speed king, into the fire, Fireball, demons eye, No No No, Highway star, SOTW, Woman from Tokyo, Rat bat blue Smoothedancer just to name a few.
    if Purple would suddenly in a spirit of “freedom” suddenly sound like early Sweet or the Eagles or the Kinks..I for one would say: Take me off the fan list!!

    But thats just me…

  7. 7
    Uwe Hornung says:

    You guys are a bunch of complainers – furchtbar! 😂

    Bob Ezrin is the first time DP actually have something like a real producer, Martin Birch, great as he was, filled more the “glorified engineer” than the producer bracket.

    Ezrin was always one of my favorite producers due to his work with Alice Cooper, Kiss, Pink Floyd, Peter Gabriel and Hanoi Rocks. Long before he signed up for them, I always daydreamed: Wouldn’t it be nice if Purple had a real producer like him for once? So naturally I was elated when Bob and DP finally hooked up and that elation hasn’t worn off since then.

  8. 8
    Tony says:

    I wiggle in my chair
    Can I buy you a beer?
    What a guy

  9. 9
    Ted The Mechanic says:


    That guy would be me! :>

    Purpendicular remains a Purple masterpiece. Right in the mix with any other Purple record. Blessings remain with Steve and the guys.


    Ted (I’m such a guy….)

  10. 10
    errolarias says:

    agree with #6.. not that the current style be so bad , not at all.. but put aside the fans is like saying : “you know what? I don’t care what you think about us, or the loyalty of you to what DP means after all this years. You can f**k yourself and just listen what we want to play”.. Now I’m not surprised by the amount of boring songs that have started to appear on albums after the wonderful “Now What?” or the whims of Gillan making an album of only covers on that album whose name I don’t even want to remember… in the aspect of the fans, with all due respect, I differ from your position Mr. Gillan

  11. 11
    MacGregor says:

    Bob Ezrin back in the day indeed. These days his work sounds very similar to others, but that is technology for you. Everything is sounding generic, homoginised, sanitised etc. Producers & engineers back in the older days were recognisable, the same as the musicians in many aspects. These days it is more a question of, which one is this or who is this? DP these days it seems have Ezrin as a ‘extra’ co songwriter as such. From what I can read into it. I am not present when the songs are created, so I could be wrong. He has a dual (duel) role as such, as he also had with the later Kansas (1987/8 & also Pink Floyd. As long as he doesn’t lay on the sofa too much ala Rick Rubin (according to Geezer) & he gets things done. Cheers.

  12. 12
    George says:

    I do not think he was putting the fans down. I think he was talking about the casual fans.

  13. 13
    Harold Sorensen says:

    I wish Roger would go back an produce th albums, Michael Bradford did a good job on bananas and rapture has a good chunk of good material. W4

  14. 14
    heycisco says:

    Ted The Mechanic @9
    I couldn’t agree with you more. Depending on a day Purpendicular could be my favourite album, period.

    Regarding producers, I wish they had asked Kevin Shirley or Brendan O’Brien to produce this one. I understand that they have chemistry with Ezrin and don’t want to change the winning formula but in my opinion after Whoosh they needed a proper shake up.

  15. 15
    Uwe Hornung says:

    I like the songs on Bananas, but the sonics of that album are unpleasantly ‘clinky’, the treble is just too harsh, that puts me off every time I play it. [That clinkiness is not apparent on Rapture Of The Deep, but that album could have used a few catchier songs which is more the band’s than Michael Bradford’s fault.] I find Bob Ezrin’s sonic touch a lot easier on the ear and more organic/warm.

    As for Bob Ezrin’s songwriting input: That is something he has always done with the acts he produces whether it was Alice Cooper, Kiss, Peter Gabriel or Pink Floyd. Compared to Martin Birch, who didn’t intervene with the music but recorded the band as faithfully as he could,, Bob Ezrin is on the other side of the spectrum as regards invasiveness. In the 70ies, that would have led to clashes with the band no doubt (back then I don’t believe that DP were really ready to work with a strong producer figure), but these days as senior musicians they are more relaxed about listening to other people, especially someone with as much professional experience as Bob Ezrin. I think it has benefitted all four albums so far under his guidance.

  16. 16
    Skippy O'Nasica says:

    Uwe – Derek Lawrence surely counts as a real producer? For the budget he had to work with, he did a fantastic job on the early DP records.

    Thom Panunzio, of “The Battle Rages On” fame, would also be considered a real producer by many.

    Michael Bradford is also reputed to be a real producer. “Bananas” is surely one of the best-sounding records of Purple’s reunion era.

    Ezrin may be more famous… But can anyone explain: what is the appeal of his production, exactly?

    Always thought that – sound-wise and arrangement-wise – his penchant for sound effects, choirs, overly-polished guitars, slower tempos and simplified drum parts generally tends to detract from, rather than maximise the energy and excitement which rock’n’roll is supposed to be about.

    Beyond the Alice Cooper records, which suited that cartoonish style of overproduction, haven’t enjoyed his work at all.

    Particularly the records he has made with the group to whom this site is dedicated. Very difficult listening, in large part due to the extremely processed-sounding vocals and dull drum sounds.

    Also, though his personal excesses may have been a mere phase, now over and done with… Nonetheless his hometown of toronto is littered with musical artistes who would attest to major label careers ended or damaged due to his foibles.

    Baffled by the fandom. But chacun à son goût!

  17. 17
    MacGregor says:

    @ 16 – excellent points & I agree. Ezrin was very good decades ago as were other producers who I could name. I will go a little further in regards to the ‘songwriting’ & do wonder as I did before I heard Now What. It obviously had got to the point where they ‘needed’ an extra hand in fresh ideas etc. Not a bad thing as the songs will or should improve. I could hear too many ordinary songs on Bananas & Rapture, even Abandon had plenty. So something was needed, enter the Ezrin ‘energy’. In regards to his production these days yes I don’t like it in many ways. It is what it is in todays world unfortunately, as I said a little while ago, are there any producers out there that don’t go for all this modern sheen or polish & politically correctness in todays rock music. We would hope there are. The Purps are in their twilight & Ezrin is also, it makes it all easier for them. And talking of producers, doesn’t Roger Glover get a nod for any DP production, a ‘real’ producer, meaning stand alone production outside of or within the band. We are aware he would prefer to leave it to someone else ‘outside’ of the band. There is a fine line within a producer getting too involved, well it was back in the day according to stories we hear. Keep the songwriting etc within the band itself & keep the production ‘outside’ the band. It works for some but not for others. Cheers.

  18. 18
    Harold Sorensen says:

    I’ve seen reviews about the best and worst albums by deep purple and they put bananas and the battle rages on as really bad albums and I really think whoever wrote those reviews is an absolute idiot those albums are great, bananas sounded fresher and heavy while still being purple, tbro has some great songs with awesome textures from both Blackmore and Lord beautiful melody and great lirycs,and as they described it on the live video a very dry sound pretty much like the best scotch whiskey, I enjoy both albums a lot.

  19. 19
    Gregster says:


    @16…Anyone who has earned a credit on an album sleeve, is just what the sleeve says…It’s your hard-earned credit…Don’t bother with the non-sense often presented here by others…

    Some people over-rate themselves & their opinions on the basis of ……Personal bias, which is fine, but go with your own thoughts & preferences, as they’re always correct.

    Peace !

  20. 20
    Daniel says:

    Ezrin gave them a boost since there was nothing for many years after ROTD. And most would probably agree NW is a stronger album than ROTD. Still, as Skippy says above, there are some less positive side effects with Ezrin’s involvment. The over processing of the vocals. The dense mix with little separation between instruments. Ian’s drum sound. Granted, his playing style is a lot more economical today than it used to be and maybe this is the way he sounds now in the rehearsal room, but surely it must be possible to present him in a better light than the way he sounds on Portable Door?

  21. 21
    RB says:

    I don’t understand the love for Michael Bradford era Purple, the poor production (especially on Bananas) hindered the appeal of the songs themselves. Vocals are too dry (and sometimes too loud), and he did kind of rushed the recording process (Steve, and I believe Roger also, have mentioned this) so that it’s not organic. They are two of my least favourite Purple albums, I never play them anymore.

  22. 22
    MacGregor says:

    In regards to songwriting & production. I do enjoy a good song even with ordinary or poor production, but I cannot handle poor songs just because they sound really good. Hence we would like to hear some songs & albums remastered or remixed & many others left as they are. What is that saying ‘you cannot polish a turd’ a bit harsh perhaps, however it has some merits with certain songs & albums from our favourite artists over the past 5 to 6 decades. Cheers.

  23. 23
    AndreA says:

    Bananas? It sounds good to me. I, however, like it. To me it feels better than the last three. It’s pure hard rock, much heavier, maybe they were younger..

  24. 24
    Uwe Hornung says:

    I’m really surprised that Bob Ezrin’s work has so little fans here. To me he’s the best producer Purple have had since Martin Birch (though their production styles are very different). There is nothing in his production work I don’t like and I’m especially a fan of how he brought out Roger’s bass. Ironically, when Roger produced DP his bass playing took a sonic backseat, he was so busy with making the others shine, his bass playing became like an afterthought. From Perfect Strangers to Rapture of the Deep, I found the production of DP albums never better than ok/serviceable/workmanlike – to me they were punching below their weight as regards the potential sonics of their albums.

    That all only changed with Bob’s arrival – I wish he would have already produced them in 1984.

  25. 25
    MacGregor says:

    Purpendicular sounds wonderful, playing if from the original cd now. Clear, punchy & everything sounds nice. The Battle Rages On I like although Paice’s snare drum is a bit too ‘industrial’ sounding, otherwise it is a clean powerful recorded album to my ears. Perfect Strangers & THOBL are a touch flat & a little murky especially Blue Light. I am not familiar with the three post Purpendicular albums as I have never owned them. Cheers

  26. 26
    Max says:

    Agreed Uwe! Most of the reunion stuff sounded just ok and Ezrin has gotten Purple the best sound they had to date. (Those eerie b-movie sounds that make me cringe everytime I hear them are Don’s responsibility I believe…)

  27. 27
    Uwe Hornung says:

    “Purpendicular sounds wonderful, playing if from the original cd now. Clear, punchy & everything sounds nice.”

    But that is just engineering, Herr MacGregor! The problem with DP fans – and I notice this here all the time – is that you guys think that good engineering which lets the band sound as it is equates to good production. That is like saying that a car whose components are all well-produced and of high quality is automatically a great design. Nope, a good music production ADDS something to the music that wasn’t there before, my point being: I am sure that the career trajectory of The Beatles would not have nearly been the same with Martin Birch, Eddie Kramer or Glyn Johns rather than George Martin producing them (just look how their performance dipped with Phil Spector at the helm, Glyn Johns having been the engineer of the Get Back Sessions).

    To your defense my DP brethren, you cannot be held responsible for your mistaken beliefs as you were all reared on a band that essentially didn’t have (and more importantly: didn’t even want) a producer through most of its career, just engineers or engineer-type producers such as Martin Birch.

    Throughout the 70ies, DP albums weren’t really produced, but only extremely well engineered and then released. What little production there was did not compare at all to the aura Jimmy Page (yes, him again!) created when he put his magic dust (I can’t believe I just wrote that …) on Zep recordings.

    In a way, DP’s lack of (and disinterest in) true production during their heyday was a testament to their instrumental prowess. Purple were so good, they already sounded great and if you just only recorded them properly. They were a band that sounded great live and wanted to sound on record as they did live, beyond that there was no real interest for having the albums produced.

    But I do sometimes wonder what true producer figures like Bob Ezrin, Alan Parsons or Tony Visconti could have done further for the commercial appeal of their records and singles way back. Of course it’s a two sided sword, the old adage “Purple were a band that sounded live like it did on the record” actually needs to be reversed “Purple were careful as a band to (post Mk I era) not turn out records that contained sounds or an ambience that would give them any challenge to recreate live”.

    But I stand by what I said, for the largest part of their career, DP remained de facto unproduced. I can’t even think of any other band as unproduced as them that scaled such amazing commercial heights worldwide. And maybe, just maybe it was all for the better. Just look at Status Quo who have a schism in their fandom to this day because there was such a radical change in their sound from their self-produced days




    to the pop production Pip Williams gave them in 1977 and later, which had their denim brigade (including me though I preferred corduroy at the time) in collective despair. I remember old fans complaining that “they now sound like the Bay City Rollers” (which was unfair, because the production of the BCR albums at the time was actually better and had more balls).



    That was a seismic change from a non-produced approach (“get the band on tape the way it sounds”) to a very produced one. Go to any Status Quo forum and they are still racking their brains about it today.

  28. 28
    MacGregor says:

    @ 27 – So what should have Purpendicular sounded like Uwe? Do you want all the fairy floss added on top? What would you have changed? You also mention Alan Parsons, which side of Parsons the engineer or the producer? Same with Eddie Kramer or even Eddie Offord with Yes in the 70’s. It is a fine line indeed. “But I stand by what I said, for the largest part of their career, DP remained de facto unproduced. I can’t even think of any other band as unproduced as them that scaled such amazing commercial heights worldwide”. Black Sabbath for starters Uwe. And yes the engineering side of it also, again a fine line it seems. Another ‘member’ added to the band for want of a better description, ala George Martin & some of the others that you have mentioned. The Beatles indeed benefited greatly from the extra musician & musical experience of George Martin. “But I do sometimes wonder what true producer figures like Bob Ezrin, Alan Parsons or Tony Visconti could have done further for the commercial appeal of their records and singles way back”. It is indeed a two sided sword as you said & I know what you mean in regards to certain albums, but others that sound fine ?????? The commercial appeal, hmmmmmm. I do agree with certain albums that could have been better, but others no, leave it as it is, they sound fine. Not all should be dabbled with in my opinion. What about ‘over produced’ music form certain artists, too much spit & polish etc, there is nothing worse than a band sounding ‘bigger’ or more sophisticated on record than what they actually are because of certain production. “To your defense my DP brethren, you cannot be held responsible for your mistaken beliefs as you were all reared on a band that essentially didn’t have (and more importantly: didn’t even want) a producer through most of its career, just engineers or engineer-type producers such as Martin Birch’. No mistaken beliefs Uwe, even back then as youngsters. We could all hear the difference in the sounds of different bands & music & ponder why etc. It didn’t take long to work it out. Anyway as that saying goes ‘beauty is in the eye of the beholder’. Cheers.

  29. 29
    Skippy O'Nasica says:

    Very happy that Purple didn’t have an ezrin, Parsons or Visconti messing with their sound during their 1968-75 heyday!

    All for the better, indeed. The simplicity and “liveness” of those records is their enduring appeal. If asked to name my top 10 DP albums, they would be the records from “Shades…” to “CTTB”, ranked depending on the day.

    None of the 1984-and-later records, even “Perfect Strangers”, would enter the equation.

    Whatever people think was their weakest record during the band’s original run (at various times, have seen comments denigrating WDWTWA, Stormbringer, CTTB, and some of the MKI LPs)… Any and all of them contain more energy and excitement than the reunion-era material, by and large.

    Partly due to different players.

    Partly due to Gillan’s reduced vocal capacity and Paice’s generally much more understated drumming.

    Partly due to the material. At times blatantly chasing after a hit (eg. some of the tunes on HOBL); at times veering so far away from the band’s classic sound it almost seems like a different group (eg. some of the tunes on “Purpendicular”).

    But in large part, due to the *sound* of the records. Which – with the possible exception of “Purpendicular” – are all more “produced” than the majority of their 1968-75 oeuvre.

    It’s great that the band is still a going concern, able to entertain audiences and make a living doing so. And over the last 40 years they have come up with some good material.

    However it’s an entirely different beast. When the days of bashing out a record in a few weeks on an 8 or 16-track tape deck ended, so did that classic 1970s sound.

    Eg., Slade. They had hits in the 1980s, which were a lot more “produced” than their 1970s classics. But did any of those later records hold a candle to “Mama Weer All Crazee Now”?

    And do any Purple fans think the band’s more “produced” recent records – good as they may be, much as some people might enjoy them – are in the same league as a bare-bones, “unproduced” classic like “Machine Head”? If so, would be curious to learn why.

  30. 30
    Uwe Hornung says:

    Skippy, with the exception of Simon, DP Mk IX are nowadays a circle of largely happily healthy senior citizens with half a century of recording experience. Their Sturm & Drang times are long behind them and if you recorded them with a shoestring budget today. You can’t recreate something like In Rock or Machine Head. Bob Ezrin should receive credit for still making them sound as good as they are – he certainly isn’t robbing them of energy. I find his production(s) of Purple warm and vibrant. It doesn’t have the edginess of yore, true, but that is not his fault.

  31. 31
    MacGregor says:

    Black Sabbaths debut & the next three albums are the ones I am thinking of in regards to the ‘not really produced’ scenario. Raw & to the point those albums are, however they were rather popular commercially at the time. SBS & Sabotage & there was a marked difference in production overall & to good effect. On of the reasons I like those two albums more. The Moody Blues had Tony Clarke (the sixth member), a similar arrangement as the Beatles with George Martin. It’s all ok for me as long as the ‘producer’ isn’t stomping all over an artists compositions. Keep it within the context of what the artist (if they are aware of what they are trying to achieve) is aiming for. Some producers become more popular than the artists they are producing. Pink Floyd had four ‘producers’ on The Wall album. It just depends on the situation & the way it all pans out. Cheers

  32. 32
    Gregster says:


    Good points, & a few of us would agree with you on the first era of DP recordings & their sound, as it got better & better with each recording…Clearer, warmer, & more powerful but without losing the richness or clarity of the cymbals…And these qualities are appreciable on every type of listening device / stereo that I have & use…Which in the general sense is Lap-top into Logitech 2.1 computer speakers, &/or Yamaha 100+watts 5.1 system, which is really cruel to most recordings, as everything is revealed. I also use no EQ, everything set on Zero, as this reveals the truth, as best as possible, as the producers & band intended.

    So what do you listen through to make your critique Skippy ???…

    The sound quality & “hi-fi” delivery of Bob Ezrin’s work through the 1970’s was simply stunning, & amazing imo. Albums like Alice Cooper’s “Goes to Hell”, & Pink Floyd’s “The wall” apart from being musical masterpieces / works of art, sound great on even shyte equipment to this day. He got a great reputation for a reason…Even today, KISS will tell you that their best effort as decided by themselves & fans alike remains the “Destroyer” album, namely from the truly unique instrumentation employed on some tunes, eg “Great expectations”…

    I suggest that a producer who has his act together, can get music sounding good on either top-of-the-line equipment, or garbage… And sometimes a producers role is to extract the best out of the musical ideas, & develop them further than what the imaginations of the bands musicians could manage by themselves, – in other words, turn a great song into a master-work, as noted with Alice Cooper, PF, & KISS recordings imo. One’s musical taste is a different matter entirely, eg, it wouldn’t matter who produced “Blackmore’s Night”, I ain’t buyin’ it…

    Everyone has to earn-a-living, & I suggest Mr.Ezrin gave his best to all he worked with, given enough room to move, as with all Producers. And sometimes Producers are the financial investors of a project too, so circumstance & job-description can get messy…

    All that said, a band has competition, & competition usually leads the way by studio wizardry found on new & evolving equipment, & recording techniques that create “new sounds” & gets them into the charts, top-10 preferable…All this to say, that a band born & successful in the late 1960’s, is not going to sound the same in the following decades if it survives that long. It will be encouraged to utilize the available technologies to be competitive in the market-place, so that they sound fresh & new, & up-to-date with the others. I think DP did really well with all the new developments made available, where the effects were used to enhance the music, not for the sake of using effects, though maybe there’s a little too-much unnecessary harmony-vocal through THoBL & TBRO re-DP, but that’s about it. Once Steve Morse joined, the music improve 10-fold, & IG’s voice did too.

    The difference from the analogue to digital technologies also makes it hard to compare one-against-the-other with DP, since album lengths nearly doubled from the reunion onwards. Each album got longer & longer, since there was nearly double the time available on a CD when compared to a record, yet alone the sound quality improvement, where tape-hiss & snap-crackle-&-pop became a thing-of-the-past…

    I won’t discuss MTV or videos, its not the DP thing, but imo, DP are a better band without RB in it, & have grown strength-to-strength, without his hassles attached. His seminal contributions to the band imo ended with “Burn”, & maybe a hint of days-of-old glory returned with some enthusiasm with TBRO…( PS wasn’t too bad, & THoBL got better imo )

    Peace !

  33. 33
    Uwe Hornung says:

    Bob Ezrin turned a garage band (early Alice Cooper Group) into a sonic experience and a stadium act, made the only albums with Kiss where they do not sound hamfisted, created Peter Gabriel’s most commercial single (Solsbury Hill) and Pink Floyd’s only danceable number Another Brick In The Wall, Part II. He was also the first guy to make a couple of Finns (Hanoi Rocks) finally ready for world domination – that they imploded shortly after due to the tragic death of their drummer Razzle (and the ensuing band grief) due to Vince Neil’s inability to take responsible decisions curtailed that master plan forever.

    Solsbury Hill is by the way also a case in point for what a producer does and an engineer doesn’t:



    Recorded at The Soundstage studios in Toronto, producer Bob Ezrin placed some restrictions on the session musicians to give the song its distinctive sound. While earlier versions of the song featured more prominent electric guitar, Ezrin instructed guitarist Steve Hunter to instead perform the main riff on a twelve-string guitar, an instrument “he hadn’t played in a long time”. However, Hunter states that he instead borrowed a Martin acoustic guitar, and Travis picked the voicings with a capo on the second fret. As Ezrin wanted the acoustic guitar to be tripled, Hunter was required to provide three satisfactory takes, all of which had to be aligned with one another.

    Rather than employ a full drum kit, Allan Schwartzberg placed a shaker in one hand and a drum stick in another, which he used to strike a telephone directory. For additional rhythmic textures, Larry Fast constructed a fake drum kit on his keyboard, which he dubbed the “synthibam”, although the liner notes credit percussionist Jimmy Maelen with the instrument. After all of the session musicians departed, Fast also overdubbed some additional electronics, including the synth horn orchestration. From verse two onwards, a subdued four note flute riff, played by Gabriel himself, sounds-off the beginning of each section of the lyrics.

    The song originally had seven different parts, but Ezrin helped Gabriel pare it down to a shorter length. In a 1977 interview with Barbara Charone, Gabriel revealed that “Solsbury Hill” was almost left off his first album. Ezrin attributed this to the final line of the chorus, which was originally “make your life a taxi not a tomb”, which he refused to allow on the album. He commented that the song “was not going on the record until we found the proper last line”.

    Several alternate lyrics were attempted, including “does anyone here know Officer Muldoon?”; the two also considered backmasking the lyric “fool, you’ve got the record on backwards”. During the final day of mixing, Gabriel changed the line to “grab your things I’ve come to take you home”, which Ezrin accepted. Gabriel ultimately expressed his approval of the song, placing particular attention on its 7/4 time signature. “It’s got a kick time and that 7/4 rhythm works well because it feels like a normal rhythm but isn’t quite right … If it’s a hit, it’ll be interesting to see how people dance to it.”

  34. 34
    MacGregor says:

    Uwe that is what a good producer should do, nothing new there ole son as so many producers over the years have done similar with many other artists. Ezrin had his day in the sun indeed, like so many others. You can add another string to his bow from 1979. Apparently on The Wall sessions he was also a ‘mediator’ or ‘referee’ in the battle between Gilmour & Waters at times. Pretty amusing to say the least, still someone had to curb ole Roger’s megalomaniac tendencies. Trying to deal with Waters would be a job in itself one would think. A producers role also in dealing with artists, nothing really new though when we think about it. As I noted earlier there are ‘four’ producers on that album. Gilmour, Waters, James Guthrie & Ezrin. Cheers.

  35. 35
    MacGregor says:

    Staying with the same producer for too long, hmmmmmmmm. Which has us here talking about the good old days again. A classic example is with Rush & Terry Brown. He was with them throughout their 1975 to 1982 years & their most productive (depending on personal taste of course). When they felt that they needed to move in a new direction, he was one of the first to go along with their hair & their equipment.
    It has to happen at some stage. So yes indeed, how long does an artist remain with that tried & (tested) formula. A completely different scenario from then to now with DP in their twilight years. Such is life. Cheers.

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