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An interview in eight movements
Ovais Naqvi, the author of the new Jon Lord book Before We Forget – A Work in Eight Movements, was interviewed for the Booked On Rock podcast. The conversation is over an hour long, so pour yourself your favourite beverage, kick back, and enjoy.
Thanks to the Ultimate Guitar and Mike Whiteley for the heads-up.
Unauthorized copying, while sometimes necessary, is never as good as the real thing
A nice interview and we are looking forward to the book. A lot of passion, dedication and hard work involved in creating it and we do hope there is plenty of sales support from Deep Purple and Jon Lord aficionados out there. Thanks for the interview. Cheers.
January 17th, 2026 at 07:49Wonderful Interview, can’t wait to have my copy of the book!
Compliments to the author. The detailed knowledge he has accumulated is impressive.
January 17th, 2026 at 20:43As a long-time Jon Lord fan, I can attest that all of his answers are absolutely accurate.
It must be the jet lag still working on and in me from my three week US stay, but during repeated attempts to listen to this I have fallen asleep in the first half when the history of DP as such was recounted! 😂 Ovais’ delivery is not exactly gripping and so much of what I hear, I’ve heard and read before or know myself (during 50 years of devouring anything about DP and family, a lot of stuff has stacked up in my feeble mind), so it’s kind of hard to focus waitng for something that is really new to me to catch my attention.
But things pick up where it gets into Jon’s equipment. Although not a keyboarder myself, I found that really interesting (no falling asleep!) and Ovais obviously knows what he’s talking about, connects the right dots, and is apparently also a little more lively discussing techy things.
I think Jon got very much identified with the Hammond, electric piano and the occasional synth (to the exclusion of pretty much anything else unless he was playing acoustic piano druing his classical solo gigs) because of his live image and work: The intensity, ferocity and energy of DP (and even Whitesnake) gigs was always thus that too fine embellishments with sophisticated equipment would have been sonically crushed by the DP wall of sound – Don Airey once said that at the volumes Rainbow and DP played and play, finer keyboard nuances and effects that make sense in the studio are lost in the venues, you have to stick to core sounds. Let’s face it: Deep Purple gigs in the 70s and later were not Supertramp, Pink Floyd or Genesis concerts where the finer aspects of music were celebrated. For all their instrumental prowess, DP were always a “shirtsleeves rolled up” band live. I don’t think for instance that Jon ever had a Mellotron with him on stage, there would have hardly been a chance to get it heard with the rest of the band thundering away! 🤣 (Mellotrons were of course also hugely fickle live and prone to distuning, they didn’t like to be transported from one place to another either.)
Ovais states that the book is not about Jon as a person because he didn’t find that aspect all that interesting. Sadly so! I’m still waiting for a book on Jon’s childhood and youth, his RnB days with the Artwoods, the rise to fame with Purple while realizing that Ritchie had taken over the steering wheel, Jon’s bout of depression post-DP split after the PAL-debacle when – in his own words – he “saw my own kudos melting away”, his two marriages and two daughters, his changed role in WS with DC now the band leader (including when Jon threw a fit finding out that Cozy Powell was on a better wage than him) and what went on in him before and after he voluntarily said good-bye to Purple. Lastly how he coped with his fatal disease – with pancreatic cancer he must have known (and been instructed by doctors accordingly) that his chances of survival were almost non-existent. (Among my acquaintances, I only recently lost someone to that disease and man did she fight hard until the last minute and try all sorts of new cutting edge treatments.)
Sadly, now that Jon’s wife Vicky has left us too, chances of such a book ever apppearing are even slimmer.
January 22nd, 2026 at 00:54Uwe, I completely agree with you on several counts. The interview didn’t tell me either much I didn’t know already, with the exception of Jon’s equipment. My first live Purple concert was in 1971 when they opened for The Faces (who had Rod Stewart and Ronnie Wood at the time), and I very much agree that the power and fury of their sound would not be congruent with a mellotron. It was one hour of pure instrumental virtuosity, and cinched my ensuing lifelong Purple addiction.
That doesn’t mean I’m not looking forward to the book – I’m sure I will enjoy reading it and adding it to my DP/JL collection. But I definitely disagree with Ovais that Jon’s personal life is not interesting. Indeed, I admire the gentlemanly way (probably a trite description, but no less true) he lived his life, and think there is much fodder for an deeper dive into that, because there should be much to tell. For example, while I knew Jon wasn’t totally happy being with his pay as a WS member, I didn’t know anything about a fit he had comparing Cozy’s pay scale to his. And it would be indeed poignant to hear more about the last year of his life while he fought the devil that is pancreatic cancer. Jerry Bloom, in his preface to Jon Lord: A Visual Biography, says the possibility exists for him to follow ups with “a significantly more expansive and detailed, solely text-based, full career biography.” We can only hope he follows through on that possibility.
January 22nd, 2026 at 20:03I did skip the Deep Purple parts in this interview also for that reason Uwe. Regarding the book, the very reason I am interested is that it isn’t about the personal aspects to a musicians life. Who cares about the private details of one persons life? We know enough of the other periods of Jon’s rock band liaisons too don’t we? Regarding the keyboard or the Hammond organ from the glory days. I still remember Jon saying decades ago that he didn’t like the word ‘keyboard(s)’ next to his name on an album or in a media article. He much preferred organ and piano. He didn’t love the idea of synthesisers and mellotrons etc, back in the 1970’s. I guess by the 80’s he reluctantly ‘warmed’ to the digital keyboards a little, for a short while. Have to love that ‘old school’ way of things that he had. Personally I don’t mind Moogs and Mellotrons and a few of those older keyboards, in their place in the compositions and arrangements, but the 1980’s keyboards were too cheesy for my overall tastes, no matter who was playing them. The wonders of technology eh, damned if you do, damned if you don’t. Cheers.
January 22nd, 2026 at 20:34I’d have thrown a fit too! Pay Cozy more than Jon?! Coverdale deserved to be hung, drawn & quartered (sequence optional!) for that. But Cozy – with any band he played – drove a hard bargain, sometimes too hard as his departure from WS pre-1987/Serpens Albus sessions showed. To be fair, Cozy was unlike Jon quite accustomed to moving from one band to another and, like in any industry, if you have done that a couple of times you get better at what to watch out for in your contracts and you become more assertive in negotiations.
People in WS – unlike in GILLAN – were never on an equal share. When Jon and Little Ian joined WS, the first thing they demanded was adequate accomodation on tour, they were not prepared to sleep in third grade hotels/rat holes. Neil Murray once appreciated how that benefitted the other WS members too, rather than create a two-class-society in lodging, he plus Micky and Bernie were then booked in better hotels too.
Amazing that you saw them opening for The Faces, George, that was the tour that broke Mk II in America (and introduced them to Rod & Ron-fuelled afterparty debauchery!). I’m deeply jealous!
Did Jon ever play a Mellotron on a DP number other than on the studio version of Soldier of Fortune?
I also believe to hear one on Anthem (incidentally also featuring one of the most beautiful solos of early Ritchie) …
https://www.youtube.com/watch?v=kAJTJA_3q9Y
That was a great song btw and I’m pretty sure it would have turned into a hit had as band like, say, The Moody Blues released it.
January 24th, 2026 at 03:24The 1971 concert I heard was phenomenal. Actually. I should make one minor connection : Purple was second on the bill. The opener actually was Matthew’s Southern Comfort who, I believe, had Colin Hart as their roadie at the time. That’s how Colin got his longtime gig with Purple/Rainbow.
Purple’s concert was an hour long and included about 5 numbers; Speed King as an opener. Wring That Neck, Child in Time (magnificent solo by Ritchie augmented by a strobe light) and Hard Lovin’ Man as the closer I clearly remember- pretty sure they also did Bloodsucker, but can’t swear to it. Typical of their concerts at the time, I would suppose. Extended jams, with monster musicianship from all. Crowd applauded & screamed for better than 6-7 minutes for an encore, but none was given – probably not Purple’s decision, but likely made by the Faces’management as a condition to being on the tour. The Faces were terrific, BTW – but Purple was transcendent.
January 24th, 2026 at 13:56Poster promoting Faces/Deep Purple 1971 concert:
https://www.ronnielane.com/uploads/1/2/4/8/124822093/faces_and_deep_purple_july_10_1971_cleveland_public_hall_il_concert_poster_2.jpg
January 24th, 2026 at 19:21Talking of 1971 Deep Purple concerts and with Uwe having a ‘fetish’ for sleeveless shirts, maybe Steve Morse got the idea from Ritchie. The Australian tour at the Sydney outdoor gig. The weather can get pretty hot out this way at times, well that would be Ritchie’s take on it no doubt. Not as colourful as Steve’s shirts though. Uwe may be disappointed with this image of Blackmore. Cheers.
https://www.facebook.com/photo.php?fbid=4201035129916995&id=192121640808384&set=a.199513813402500
January 24th, 2026 at 22:03I knew what pic of Ritchie you were gonna unveil, Herr MacGregor, but it‘s ok, we all know how prolonged stays on islands and/or in penal institutions without exposure to the other, fairer gender can shape a man‘s preferences. Who am I to judge?! 😈
George, I once read an interview with Little Ian where he stressed how pivotal that extended tour with The Faces was for DP‘s US success and also how they were treated exceedingly well as an opening act by Rod, Ron et al. He couldn’t help adding the also slightly competitive remark that due to their excessive partying, The Faces were often well out of it and how it hampered their live performances while DP dug down in a disciplined fashion. But then a Faces gig was always allowed to be a little shambolic, that was part of their charm.
https://youtu.be/iM4YRhExi1Q
January 25th, 2026 at 01:58George @8: Cleveland rocks!
https://www.youtube.com/watch?v=tJzcS-mEfOg
January 25th, 2026 at 02:31Uwe, you are correct. If I had to categorize/give a name to their performances, Purple was a no-holds-barred musical concert. Everything – from the boys’ demeanor to their apparel to their musical delivery – was focused on delivering the musical goods, and deliver it they surely did. The Faces’ set was much more like a musical party – flamboyant attire and much more joking/chatter, particularly by Stewart, quality but occasionally imperfect music, obviously greased by a significant amount of alcohol (or some other “stimulant”). Both enjoyable, but for largely different reasons.
BTW, in addition to the Purple/Faces concert, that summer I also saw Wishbone Ash open for the Who and Edgar Winter’s White Trash open for ELP at the same arena in Cleveland. Yep, that summer, as it always has, Cleveland Rocked!
January 25th, 2026 at 13:45@ 10 – ha ha ha, you are not wrong Uwe. That top Ritchie is wearing was all the fad out here with outdoor tradesman, roof tilers, bricklayers, builders and labourers and the like, for many years. It doesn’t suit young Blackers at all. I notice no one in the audience is wearing one either. Maybe it appealed to Ritchie’s ‘manly’ demeanour or something. At least he isn’t wearing his famous hat, now that would be a clash of cultures. Cheers.
January 25th, 2026 at 21:41@3. Uwe, Your last paragraph is interesting. Many “rock” biography’s are written by “fans” rather than professional authors and frequently suffer from a “trainspotting” vibe. I have Jerry Blooms book on Ritchie, it’s interesting but I wouldn’t describe it as well written. Gillan’s autobiography is appallingly written (IMO), Glenn’s is for the most part very dull but they are all still better than not having them. It’s such a shame that a really good author hasn’t taken on the task of creating the definitive and well researched DP book since the source material is gold.
January 27th, 2026 at 15:49Unless it is straight from the ‘horses mouth’, I don’t buy the books out there on any band or artist I am into. The only one I have ever purchased of Deep Purple was way back when I was young, Chris Charlesworth 1983 and that was it…………. Sure I have glimpsed through others over the years and of course the internet brings most things to the fore that we may be interested in. I probably pick up more information here at THS truth be told. Now there is plug for a few aspiring journo’s, or writers I should say. Cheers.
January 27th, 2026 at 20:23I agree, nearly all rock bios wouldn’t amount to much in writing class. They are convenience literature at best for a largely undemanding audience.
January 27th, 2026 at 21:28Enjoyed Glenn’s autobiography. Talk about a “tell-all” book. He comes across like Keith Richards – a guy who has messed up terribly at times, but is totally comfortable in his own skin. When he does something right, he takes credit. When he screws up , he takes full responsibility. An interesting story, with an inspiring narrative arc leading towards sobriety.
Thought Gillan’s was OK. Rather haphazard as if long-form writing wasn’t his forte. But that must have been the way he wanted to tell it, otherwise it wouldn’t have been published, surely.
Too bad Jon Lord never wrote an autobiography. And that Blackmore probably never will. In interviews Paice often gets dates and chronology mixed up, but maybe with some assistance he could write one.
Coverdale seems like quite the raconteur. A pity that he said, a few years back, that he never will write an autobiography.
January 28th, 2026 at 02:23With DC the problem would be that he’s hidden the man behind the mask so completely over the decades that even he hardly knows him anymore. My concern would be that an autobiography of his would be as shallow as a WS video. He also has a not so nice trait of dropping people completely once they are no longer of use to him: Micky Moody, Ian Paice, Mel Galley, Cozy Powell, Neil Murray, John Sykes, Vivian Campbell, Rudy Sarzo, John Kalodner, Tawny Kitaen and even his first wife Julia … Whether he would really candidly explain why he separated from them in a book seems doubtful. I also wouldn’t expect to hear from DC something as intimate as when Steve Morse talks about his wife’s passing.
Currently I’m actually worried about DC – that he is not only retired from singing but from any internet presence at all is not a good omen.
Glenn, it has to be said, was intrepid in mentioning unflattering incidents in his bio. Where the book fell short was in an explanation of why his career remained so erratic even after he overcame addiction.
January 28th, 2026 at 14:46very interesting interview, Ovais Naqvi is very knowledgeable on the topic, he knows a lot of things by heart and demonstrates his deep knowledge of the subject.
February 1st, 2026 at 23:46I will definitely buy the book because it is really fascinating to understand the importance of the Maestro in music through his instrumentation and his experimentation
Interesting reading Pete Townshend’s autobiography Who I Am. The 1967 era and he comments about hearing that Vanilla Fudge and Mark Stein’s Hammond organ was ear splitting loud, right up there with the guitar. That has me curious as to what Stein may have been plugged into, a guitar rig perhaps or the trusty old Leslie cranked to eleven. Deep Purple being so influenced by the Fudge and all and did Jon get the idea from them or was it as he says, Ritchie driving him bonkers later on. Also in regard to Live at Leeds, apparently the backing vocals were re recorded by Townshend and Entwistle in the studio as they were too low in the original mix. So it is not a totally unaltered genuine live recording, in that sense. Is Made in Japan the only genuine live rock album, it is shaping more and more that it could be. I guess only having one vocalist helps. Of course we will never really know if it stands all on its own, but I wouldn’t ever be surprised if it did. Cheers.
February 4th, 2026 at 20:02Quick update!
We’ve lined up to to talk Jon Lord (the man) with Phil Aston at Now Spinning Magazine. As everyone knows, Phil is a huge DP and JL fan and has a great empathetic take on the human side of musicians. You’ll hear some more on Jon The Man there.
Whilst the focus of the book is resolutely the music and the instrumentation, there is a lot in there on Jon Lord the person: sources and direct and indirect perspective from Paul Mann, Colin Hart, Stephen Lord, Willy Fyffe and Ossy Hoppe.
What I’ve deliberately and happily done is avoided intrusion, especially with Vicky sadly, no longer with us. In a way, I’ve written “around him” and avoided trying to get into his private world or his private preoccupations. My North Star was and remains “how would be feel” and I’ve stuck to that ethos.
What’s abundantly clear is that he was really not hugely different in private to the way he comes across in public or in social moments. He was a man of even temperament, not prone to mood swings, nor to effusive shows of his private emotions.
Much was kept inside, not uncommon with a man of his generation and position. My dad was nearly exactly like that. He could get irritated or even upset, but as even Paul Mann told me, the manifestation of that was often nothing more than a sideway’s glance at the perpetrator and never a scream or shout or a threat or a palpitation fit.
He was not a confrontational man, nor a hugely demonstrative one. The net result of all this insight only convinced me all the more to focus on the music and his unique approach to sound and melody. Especially after Pictured Within, the emotions, fears and even the pain (such as that of his parents’ deaths) are all in the music.
Finally aside from Paul’s and others’ perspectives, the Lord family history in Buckinghamshire and Leicestershire is covered in Chapter 1, that is new and fascinating (wait and see) as is invaluable information from Steve Lord on their childhood. No one has unpacked much of that ever before.
Beyond that, I was keen to keep JL on a pedestal and certainly not get into the negative or inter-band dynamics in DP etc. That’s best heard from RG and IP in future and updated works.
My mission was to pull all the varied musical knowledge and plant it firmly in definitive new facts and new knowledge.
February 15th, 2026 at 20:30I received an update regarding the book’s release yesterday, as no doubt anyone else who has ordered it did as well. Looking forward to it and all that it reveals. Cheers.
February 15th, 2026 at 23:06