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Next best thing to Quincy
There was quite a bit of talk on these pages recently about the production of Rapture of the Deep, and the role of Michael Bradford in particular. Here is an extended interview with him from a couple of years ago, where he talks about working with Deep Purple, among many other things. The interview doesn’t provide all the answers, but it’s good insight into the mind of the producer. The whole chat is well over 2 hours long, so we’ll steer you straight to the Purple bits, which last for about 15 minutes.
Thanks to EveryoneLovesGuitar for the interview, and to Uwe Hornung for bringing it to your attention.
P.S. You won’t regret listening to the entire 2+ hours of the conversation. Michael is a fabulous storyteller, and boy oh boy, does he have stories to tell!
Unauthorized copying, while sometimes necessary, is never as good as the real thing
Nice. I had no idea that JL was ailing at the time he left. Obviously MB went into the gig with the right attitude, and all credit to him for that. However, the results were what they were, and I still do not like the production (sound) of these albums. Based on Junkyard Blues, I await the ROTD remix with much anticipation.
June 11th, 2025 at 11:34Bananas sounded sonically more sprightly to me than the darkish Abandon, yet it was harsh and clattery in places too. ROTD was just murky and dull production-wise, I dunno what happened, especially as DP chose Michael because of the radio friendly sound he created with Uncle Cracker’s Follow Me (a lovely song with a great sound). Was it the studio they employed?
I’m still happy that DP took the detour with Michael for two albums, I think it paved the way for the work with Bob Ezrin. Unlike all ye detractors, I like what he did and does!
June 11th, 2025 at 14:18With all due respect, it’s documented that ROTD production was quite rushed because Mr Bradford had other commitments.
June 11th, 2025 at 22:10It’s also documented that Jon Lord said in an interview in somewhere in eastern Europe while promoting his solo stuff that Roger Glover could have done a better job regarding the production of Bananas.
Regardless of all of this, just trust your ears and decide for yourself.
Music is an art so no one can agree.
Peace
✌️
“Rapture” reminds me of “Born Again”: some really good music, but poorly produced.
June 11th, 2025 at 23:16@4. Never considered that, but fair point!
June 13th, 2025 at 07:39My opinion…
June 13th, 2025 at 10:59Michael Bradford is a collateral victim of weaker DP albums. After Abaddon, which did not meet expectations.. maybe the guys doubted themselves and Roger Glover. Next to the great promising “Purpendicular”. Another in a series of DP albums that had to be broken, will it or not, is it possible (“Deep Purple” 1969, “In Rock”, Burn, Come Tast The Band, “Slaves & Masters, “The Battle Rages On, “Now What!?”). And, it was will! , will! will! . For the first time, the band decided to seriously continue with Gillan, and without Blackmore, and Morse stepped in, revitalizing the band’s sound completely. They recorded a good “Purpendicular” album, a classic “Sometimes I Feel Like Screaming”, the album also contains the excellent “Loosen My Strings”, “A Touch Away”, “The Aviator” Vavoom: Ted the Mechanic, “Rosa Cantina” and it is finally an album by the band that was positively influenced by the atmosphere in the band, which also confirms the conclusion that Gillan and Blackmore in 1993 simply reached the end of their journey together and that at that moment Blackmore had already started to do more harm than good to the band. A new better album was expected, but “Abadon” an album without big hits, is best known for being the last album of his excellency on the organ and which, unlike “Purpendicular” from two years ago, did not have a strong stamp (only “Don’t Make Me Happy”, the instrumental part on “Seventh Heaven” and, especially, “Fingers to the Bone” which sounds like great direct derivative from “Purpendicular”) And the guys at the concerts were perfect ..”Live at The Olympia ’96,”Total Abandon: Australia ’99”,”In Concert with The London Symphony Orchestra “.
They tried with a new producer and a new keyboard player… the next two albums lacked strong rock songs. The most memorable on the album are the three ballads “Haunted” and “Walk On” I Clearly Quite Absurd”, while the two instrumentals written by Morse “Contact Lost” and “The Well Dressed Guitar” that stayed the longest on the setlist are great gems from his era.
Of course, the title song” Rapture of the Deep” has a traditional eastern sound, rooted in the DP songbook.
Maybe it was possible to continue Roger together with the guys after Abaddon, but they decided on Michael Bradford….I always remember Hugh Cornwell, the leader of The Stranglers (a month ago he had a great concert in my city, an incredible trio – highly recommended to see and listen to, and whom I met, a great kind gentleman in his best years, he said “1979 year .
“We’ll never use a producer again. They’re just little shitty parasites. The only thing they’re good for is telling jokes. And we know better jokes than any of them”…haha
“Junkyard Blues” good remix..excellent…Don the first star…as an addition that beautifies the dish, his electric piano like Chuck Leavell in ABB’s “Jessica”.
Roger Glover keeping the groove going
Sabbath-Svante, that Nordic devil worshipper, agrees with me: Born Again’s found footage Blair Witch Experiment style murky production is (perhaps inadvertent) high art while ROTD sounds like a third or fourth generation demo tape!
Svante, I conjure you, cometh to my luminous defense!
June 13th, 2025 at 15:32Uwe speaketh the truth!
June 13th, 2025 at 22:32@ 6- Ivica- that is a very analysis indeed, well done and I agree with your sentiment. Liked the ‘joke’ about producers from the leader of The Stranglers, have to laugh. Some producers work well for certain artists, others not so, it is the way of things. That sort of sounds like Geezer’s comments regarding Black Sabbath’s ’13’ album. Songwriting is the key to good fortune and I don’t necessarily use the term fortune as in lucre, simply success from an artists and the publics point of view. @ 7- and while we are at the crossroads of ‘devil’ worshipping and Sabbath’s diablo or (diabolical) Born Again mix, yes devil worshipping whilst blind drunk and totally out of it has it’s appeal for many. Even trashing cars and going ‘berserker’ play’s its part too. Seriously though, ‘produced’ by Black Sabbath and Robin Black does have something to do with the final mix mess. I guess the band were too busy trying to re build Stonehenge to notice such things. Bloody Pagans, cannot take them anywhere. Cheers.
June 13th, 2025 at 23:02Danke, Svante, we will not invade then.
June 13th, 2025 at 23:35I’m definitely in the minority here but Bananas is my second favorite Morse era Purple album after Purpendicular.
June 13th, 2025 at 23:55I don‘t dislike Abandon, there is nothing wrong with it. It is darker than Purpendicular, heavier and less versatile, but all that doesn‘t make it a weak album. So there is no apparent hit single, so what, there wasn’t one on In Rock either. I remember that they played a whole lot of that album, seven songs at one point, so that was good too, the new material worked fine. And it was proggy too, songs with unconventional meters and stuff.
Jack Ruby by the way
https://youtu.be/YjhSYlZe5Fw
with its 6/4 meter was a survivor from a THOBL session sabotaged by the Man in Black. Paicey, Lordy & the Glover boy jammed on it, Big Ian even improvised gibberish over it, but then in comes the banjo player, plugs in his Strat, doesn‘t like what he is hearing and plays one of his own riffs. Just great, you gotta love him for so much empathy and cooperative spirit.
June 13th, 2025 at 23:57Thinking back to the Black Sabbath ‘Volume’ Four album and that album and Born Again have a similar sound to them. Tony Iommi ‘produced’ the VOL 4 album, murky and much darker and poorer in overall sound than the three previous BS albums. Having said that, Vol 4 does have that certain appeal to it in that regard, rather good songs and a few little instrumentals too.. Iommi was inexperience as a ‘producer’ so that and the great Coke a cola reference in the albums liner notes and even one popular song too, says a lot. Fast forward to 1983 and not a lot appears to have changed in that sense. Too busy carrying on like adolescents and teenagers to get things completed properly. Rock ‘n roll eh? More like a Monty Python scene in many ways. There you go Uwe, two albums reviewed into one, not bad eh? Cheers.
June 14th, 2025 at 01:48Ivica @ 6
June 14th, 2025 at 07:48You have raised some interesting fair points.
While I don’t like to use the terms weak or bad to describe the less popular DP songs as I believe every DP song has something to offer musically which is still very entertaining to listen to but the issue is whether the production and the mix has done justice to the songs.
I believe Michael Bradford might be a great producer but the wrong fit for DP and they used him to elevate the stress and the length of time from RG so they can concentrate on touring and resting well between tours.
The process of producing and mixing and album wasn’t fun for the guys as they wanted someone they can trust and take the pressure off them instead of fighting between them on how the songs should sound like with the mix arrangement.
I have listened to the new remix of ‘Junck yard blues’ and I jumping with joy.
Criticizing Mr Bradford is unfair because he has a different approach but the material he was dealing with was definitely good enough to make a classic DP album.
Peace ✌️
Roger himself has said that production duties saw his bass playing suffer as it became almost an afterthought – he began listening to DP only with a producer‘s cocked ear. And I do hear that his bass playing becomes more lively if he is not at the helm himself.
A lot of artists shun working with a producer because they consider their music sacrosanct and don‘t want it meddled with by outsiders – they fear he/she might take something away, but miss the point that by the same token a producer might also add something through his additional perspective.
But among DP fans my impression is that most of you don‘t want DP output “produced” at all, you merely want the music engineered well and everything to sound like a DP live gig with an excellent sound – the Martin Birch school of production so to say. The Honorable – ok: Honourable or he’ll complain again 🙄 – Herr MacGregor is obviously an advocate of this view, he likes to hold masses without a priest present, tsk, tsk, tsk … All that good Catholic education gone to waste. 😂
Sidroman, I totally get that how you pair Purpendicular and Bananas as your fave albums, they both sound versatile and optimistic. I liked Bananas as a breath of fresh air too after the somewhat sullen Abandon.
June 14th, 2025 at 12:41“There you go Uwe, two albums reviewed into one, not bad eh?”
Yes, what an intellectually ambidextrous little mollusc you are!
https://www.youtube.com/watch?v=cgPqmRNjoTE
Amazing what drummers can do if instructed properly.
June 14th, 2025 at 21:12@3 – yes Bradford had a deadline due to other commitments…
And apparently planned ahead with that deadline in mind, setting aside what should have been sufficient time to mix…
Only to reach the end of the time allotted for recording with several songs that that didn’t have lyrics written yet, let alone vocals recorded.
The completion of which ate into the scheduled mixing time.
Or so rumor has it, as told to me by someone from Nashville some years ago. Hearsay / gossip which may or may not be true.
Always thought “Bananas” sounded good, maybe one of the best-sounding reunion-era DP records. As well as having a couple of songs which seemed to have been crafted as potential mainstream successes, “Haunted” and “House of Pain”. Had the band managed to place one of those on a big movie soundtrack, a hit might have resulted.
So, rather odd if the entire fault for ROTD’s less-than-sparkling sound – and occasionally amelodic vocal lines – rested on Bradford.
In any case, the album’s somewhat dull sound strikes me as less egregious than the highly-processed, effects-heavy vocals of the ezrin records. A little dry and under-produced, sonically its closest neighbor may be “Purpendicular”.
Whatever its merits and faults, if the band thinks a new mix will make the record sound better, great!
For some reason one of its songs, “Wrong Man” brings to mind “A Feather On The Scales Of Justice” by Man.
June 15th, 2025 at 05:48https://www.youtube.com/watch?v=VvJRs8y8-pk
@13 MacGregor – would think that “Master of Reality” is the worst-sounding of the first six classic-era Sabbath records, no? At times very lo-fi garage-rock, Stooges-ish sounding.
(Sonically speaking, leaving aside performance issues such as sometimes horribly out of tune guitars.)
Though “Vol 4” has an EXTREMELY guitar-heavy mix, everything else is still clearly audible and the overall sound is powerful.
Plus it has “Supernaut”! And “Tomorrow’s Dream”!
On both LP and CD, remember the record packing a lot more punch than “Master…”
Just checked again on the internet, hearing the same thing…
Am baffled. Maybe the Aussie pressing of V4 was sub-par?
Only ever played “Born Again” once or twice, but seem to recall that it took murkiness and muddiness to unprecedented depths.
June 15th, 2025 at 06:00The Sab’s MOR was the first album I ever heard from them, so my memory is of course emotionally tainted, but I liked its stoner rock vibe and the production fitted that. It’s also the first time the Sabs got interesting for me, those first two albums, so much revered in Sabbathology, sounded like second rate Cream on quaaludes with a wailing voice to me. 🫣
And yes, there is some out of tune and generally sour playing going on on that album that I think it sounds almost what I believe medieval music sounded like if played by less than pitch-perfect village musicians! 🤣
June 15th, 2025 at 15:29@ 18 – Skippy, the three earlier Black Sabbath records have that ‘dated’ sound to them, Rodger Bain produced. I do think that Master Of Reality does sound ok for that very dry production of Bain’s. That album is where the Sabs commenced and identified with what they were trying to achieve, it has a few classics on it, Into the Void especially is grand. Wasn’t that the time where Tony Iommi ‘down tuned’ for the first time? However don’t get me wrong with my VOL. 4 comments, as that album is the first of the ‘holy trinity’ for myself and many other fans too. It is the first Black Sabbath I ever heard so it has a strong nostalgic effect on me, every time I hear it and even when I think of it. Much better songs too and a dense dark sound to it. However not very clear in its mix to my ears, not on the heavy songs that is. Iommi self produced it and let’s face it, it seems to be that he was the only band member ever doing certain things back in those days, ensuring as best he can to get a final product, for want of a better description. A pity all the drugs etc got in the way. It just has that similar sort of dark, dense and murky sound to it like the Born Again album but nowhere near as bad as BA. A coincidence perhaps that a similar scenario was ever present and I am not only talking about good ole Satan, he he he. Although he or she would have been present no doubt. I often try to think of the ‘devil’ as a he/she entity, just to keep on both the right and left side of everyone. Regarding the vinyl album pressings back in that time, the mid to later 70’s didn’t have the vertigo spiral on the record but it was the same company, Warner Bros. I think and they were pressed in Australia, from my memory and having a quick look online. As for the CD’s I have, Vol 4 and Sabotage are from that ‘Castle Communication’ Australian pressings company, they don’t get favourable reviews from many people. SBS and Never Say Die are from ‘Interworld Communication’ a ‘Vertigo’ Polygram German pressing. I do feel the need to possibly buy later Vol 4 and Sabotage cd’s, although reading many peoples comments, they still suffer from an audio dilemma of sorts. Everyone hears things differently. Which cd’s to buy after reading various reviews. I compared the cd’s with my vinyl records many years go, they all still sound similar, the way they are recorded way back in time. A bit like Deep Purple In Rock, no matter how or what you listen to it on, it still sounds like In Rock, it always will. That recording and all its sound. Thanks for your comments. Cheers.
June 16th, 2025 at 00:25Tassie boy, you are aware of the 2021 Super Deluxe 4 CD box release of Vol 4, remastered by Andy Pearce & Matt Wortham and with new studio and live mixes by Steven Wilson and Richard Digby Smith?
Sabotage (sans Steven Wilson remixes though) & Technical Ecstasy underwent similar treatment in 2021 and 2024 respectively.
Those Sabbath Super Deluxe boxed sets shouldn’t be missing in any responsibly led occult household!
June 16th, 2025 at 14:37@ 21- I am keen on a stand alone single or two disc set Uwe. The ideal set up would be the original album remastered as it stands and the album also remixed on a separate disc. Chris Squire’s Fish Out of Water cd is just that, two discs and the booklet of course, a wonderful little ‘box’ set. Come Taste The Band is also that similar two disc set. The trouble with these later Black Sabbath offerings is Sabotage hasn’t been remixed, Access not available to the master tape we would presume. A big miss and that album more than other any needs it. Just to balance everything, too loud the guitar solos and the vocal at times, especially when the harder music in certain songs is in play. Bloody lead guitarists and lead vocalists eh, the same culprits always at play. I can just see Iommi and Ozzy at the desk with the producer, pushing up their respective tracks and not giving a damn about the bass and drums. That is if Ozzy knew what a mixing desk is and how it actually works, he he he. Technical Ecstasy has been remixed. I have also read about the various Vol.4 re releases, the original recording is not remixed either if my memory serves me well. I might ask the chap at our local music store to see what he has on his books. I am still waiting for Paice, Ashton and Lord to arrive, imported from Europe apparently. When that arrives I will put a little pressure on the young lad and see what transpires. No luck with any of the IGB cd’s, which is what I thought, not to worry. Cheers.
June 18th, 2025 at 07:19Well, Man Alive. I remember an Italin fellow listening to Man Alive, virgin, and when it came to the’ juice went down ‘part, he rolled some eyes.
June 24th, 2025 at 16:17I wish McBride will come up with songs like that. Nothing to do with the lyrical mishap of course.
#6Ivica:
I totally disagree with you, Abandon is the masterpiece of the Morse era, perfect from start to the end as were In Rock & Perfect Strangers.
The sound is dark, true, but musically it is the most technical and fast album that Purple have written with Morse.
the proof that they themselves considered Abandon a winning album were the many songs they played in the setlist at concerts.
I already knew from the cover that Bananas wouldn’t be on the same level as Abandon, but it was still a great album, as good if not better than Purplendicular.
Raptur can be remixed in all the ways in the world, but it will always be a much weaker album than the previous 3, just as weak as Now What was.
if the songs are great and the mix sucks, the album is still good.
June 28th, 2025 at 00:41if the songs are boring and flaccid, even if the mix is good, the album puts you to sleep.