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Can’t stop the tide coming in
Roger Glover was interviewed by the ROCK TALK podcast out from Argentina. There was no apparent occasion, so lots of things were discussed — what the band is up to these days (spoiler: working on a new album apparently, the interview was recorded before =1 came out), the writing process, Turning to Crime and Whoosh!, the new guitar player, Roger’s career as a producer, his gear, and state of music today in general.
Thanks to Erik for the heads-up.
Unauthorized copying, while sometimes necessary, is never as good as the real thing
thanks for the Roger Glover interview, enjoyed it particularly the second half regarding equipment etc. Cheers.
April 9th, 2025 at 23:44The host says in the beginning that the interview was recorded before =1 was released, so that’s the “new album” RG was talking about.
April 10th, 2025 at 00:14VD:
thanks! that explains quite a few inconsistencies throughout.
April 10th, 2025 at 01:19That’s a remarkable and insightful statement by Roger:
“I sometimes think that modern music is songs made by one person at home to be heard by one person – via headphones or earplugs … It used to be more social …”.
April 12th, 2025 at 11:43Interesting comments from Gilbert O’Sullivan regarding today’s ‘songwriters’. Cheers.
https://www.noise11.com/news/gilbert-osullivan-talks-songwriting-today-swift-and-gaga-style-verses-songwriting-then-20250409#:~:text=Gilbert%20also%20points%20to%20the,and%20has%20a%20middle%20section.
April 14th, 2025 at 09:02Yes, Rick Beato has lamented that too, the middle eight – once so prevalent – has gone out of style in pop and rock music.
With lots of dance acts, it just complicates choreography. And I I think there is also a tendency to use a very good potential middle eight as the basis for a new song rather than “waste” it as a middle eight played only once or twice at the most in a song that already has a catchy verse and chorus.
Purple’s music has had a lot of nice middle eights, think of Strange Kind of Woman, Woman From Tokyo, the lovely Beatlish middle part of Lady Double Dealer or the passage sung by Tommy in Dealer.
Ritchie – perhaps in line with his general sentiment of presenting stark contrasts and nothing much in the middle – is not much of a middle eight writer, is there a single song on Rainbow Rising that features a middle eight? I can’t think of one, it’s all intros, wham-bam verse and chorus plus solos. And he hated the beautiful middle eight (that adds so much to the song) in Woman From Tokyo so much, DP were never allowed to play that part during his tenure(s) in the band, that only happened when Steve took his place and man did it sound good when that part was finally reinstated in the song.
April 14th, 2025 at 13:08The Woman From Tokyo middle eight is a perfect example of Blackmore most probably not relating to a section of music that he isn’t involved in or that he has any time for. That impatient and ‘unprofessional’ streak he has and what I have mentioned before with him not lasting two seconds in a progressive rock band or an orchestra. He had to stand around a plenty back in 1969 for Jon’s concerto and that would be unforgivable for him I could imagine. If it isn’t something he enjoys or he is involved in, then scrap it……………. Cheers.
April 15th, 2025 at 09:05Talking of songs from WDWTWA I have just listened to the remixes of WFT and Our Lady plus the alternative bridge of WFT. Our Lady is a favourite track of mine from the album and the remix brings Blackmore’s rhythm guitar much more to the fore nicely. Talking of that song, it has always been a favourite because there are no solos on it, from either the guitar or the keyboards, nice one. It has been too long since I have listened to those remixed tracks and the jam also (place in line). The sound of Ian Paice’s drums are of exceptional quality. Every instrument sounds great to my ears. Those were the days. Less is more on this album, for a few tracks at least and that is grand. Cheers.
April 15th, 2025 at 11:01@6
Uwe, what is “the middle eight” you are writing about? ☺️
April 16th, 2025 at 16:58In addition to the verse, the bridge and the chorus, it is a fourth part of a song that is neither verse nor bridge nor chorus, but something else that gets played only once or twice (unlike verse, bridge and chorus which are repeated more often). Middle eights used to be regularly eight bars long and played in the middle of a song, hence the name, but they can be longer or shorter.
The parts Glenn Hughes sings in Burn alone
“You know we had no time
We could not even try
You know we had no time …”
are middle eights as is this here at o1:13 where Coverdale/Hughes morph into Lennon/McCartney:
https://youtu.be/u14SPWZ1q9w
Since I’m such a nasty son of a bitch, I intentionally gave you no examples with your GILlAN honey though they do exist, you have to find them yourself! 😈
PS: Try the “Ma-agic woman …” in Fireball or the “Dear Mr Miracle …” in Trashed for starters …
April 16th, 2025 at 22:15@10
Thank you Uwe 😊
And for another time where you so kindly answer my many questions:
Know your audience!
I would understand everything quicker and with appreciation, if you used examples my poor brain could actually understand 🤣🤣
Have I ever mentioned I really dislike GH? 😂
April 17th, 2025 at 19:19“Have I ever mentioned I really dislike GH? 😂”
That statement is not even worth being ignored, Karin. 😑
https://www.youtube.com/watch?v=K9hAB9Oe_40
https://www.youtube.com/watch?v=lJykGgEY7fE
https://www.youtube.com/watch?v=rflfRyT1TyY
April 17th, 2025 at 21:10@12
“That statement is not even worth being ignored, Karin. 😑”
In my tiny minuscule world it is!
GH sounds like, well, not important! 😄
April 18th, 2025 at 11:02