If the stars will align right, the world live premiere of the new Deep Purple album will happen in New Zealand, where the band kicks off 2013 touring schedule on February 24, followed by six more dates in Australia. New Zealand ticket presales start on November 7, with the sale to general public followed on November 12. Australian tickets go on sale to general public on November 12. This leg of the tour will be supported by Journey.

In related news, Italian promoter Barley Arts just announced three dates in July 2013: 21st in Vigevano, 22nd in Rome, and 24th in Udine.

Full details in our calendar.

Caveat: as of the time of this writing, none of these dates appear on either of the official sites. Proceed at your own risk.

The band has not been touring since February and as they’ve assembled for the rehearsals there were many speculations regarding upcoming setlist. This is what was played on the first three dates of the Russian leg.

Yekaterinburg, October 24, 2012:

Fireball
Into The Fire
Hard Lovin’ Man
Maybe I’m A Leo
Strange Kind Of Woman
The Battle Rages On
Contact Lost
Wasted Sunsets
Well Dressed Guitar
The Mule
Lazy
No One Came
Perfect Strangers
Space Truckin’
Smoke On The Water

Highway Star
Hush
Black Night

In St.Petersburg on October 27 Sometimes I Feel Like Screaming took place of Wasted Sunsets. In Moscow on October 28, Wasted Sunsets were back and Highway Star was dropped from the set.

Thanks to deep-purple.ru for the info and to Serge Adamovich for the photo (there’s more where it came from).

Blackmor’s Night are doing their short annual tour in the US, and on October 27 Ritchie Blackmore and Candice Night were interviewed (undoubtedly, via carrier pigeons and smoke signals) by their local Long Island’s WRCN:
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Ian Gillan did an interview for Michigan radio station WJRW. They have talked about the new album, the Ron’n’Roll Hall of Fame induction, the late Jon Lord, Jesus Christ Superstar, and some other things. You can listen to the interview online.

Thanks to James Gemmell for the info.

You’re looking at two Machine Head anniversary vinyl reissues; the 1997 25th anniversary edition and the brand new 40th reissue.

The 40th anniversary release has been promoted as the reissue attraction to top them all. Well, OK, perhaps there wasn’t really that much new music around to tempt us with, so the boat was pushed out on the packaging.

You’ll already have Roger Glover’s fantastic 1997 remix, possibly also the surround mixes and quad mixes and whatnot. But not the 60-page hardback booklet featuring all manner of fascinating reading material; detailed essays from Roger Glover himself and Mojo magazine editor Phil Alexander, quotes from Deep Purple fans Mikael Akerfeldt, Peter Hook, Eddie Jordan and others, and an interview with photographer Didi Zill, who photographed the recording session in December 1971.

Sounds like a package worth picking up. But whatever you do, just don’t get the vinyl edition, because that includes absolutely none of the above. The fact is, the Machine Head 40th anniversary LP will be remembered as the poorest Deep Purple reissue ever.

As the photo shows, it consists of an exact replica of the original sleeve. The inner gatefold, which isn’t shown here, also replicates the 1972 original. The LP itself comes in a plain white inner bag with the lyrics fold-out sheet (early version missing a few lines of Never Before) snug in next to it.

The bonus 7″ of Never Before and When A Blind Man Cries comes in a plain Purple records 7″ sleeve also stuck inside the gatefold sleeve.

In fact, the only attempt at extra info is that round black sticker on the front hyping the single. That’s it.

Machine Head has a fascinating story behind it, and as it is Deep Purple’s most popular album, you’d think including the booklet in some form would have been worth EMI’s while here.

Oh yes, the black vinyl has been remastered in 2012. While that might seem attractive, please don’t expect any kind of revelatory aural experience. The 1997 remastered reissue (also with the far superior Glover remix) serves all purposes as far as sound quality goes.

Deep Purple’s followers have always been spoiled with exquisitely packaged and well researched reissues overseen by the capable Simon Robinson and company at the DPAS. Sadly, EMI decided they knew better this time, so they released the LP in a discount packaging very unlike previous anniversary reissues.

Whatever their excuses will be, there’s been an expense cut here which only benefits EMI. You still pay full price for the LP, and we do not recommend it.

Update:
Inspect closely the L in Purple on this cover and you realize that whoever did the sleeve has simply scanned an old 1972 sleeve – but forgot to remove the remnants of an old price tag and its glue. Cheap!

Blabbermouth reports that Ritchie Blackmore gave an interview to the VH1 Radio Network and elaborated on his stance regarding the Rock’n’Roll Hall of Fame:

I was quoted as saying I couldn’t care less about it, and, yes, I couldn’t care less, but at the same time, I don’t wish to throw it back in their faces. I mean, I wouldn’t turn up to any kind of such event. It’s not, to me, anything to do with music. Music is about playing and getting on the stage, not receiving awards. I’m pretty bad at receiving awards.

No disrespect to the Hall Of Fame, whatever that is, I really don’t keep up with it. I mean, there are so many Hall Of Fames and places that are honoring people and a lot of the time I see who they are honoring and it really has nothing to do with rock and roll — very strange people.

Not much of an elaboration, really…

As the band has gathered in a Russian studio to rehearse for the upcoming tour, Roger Glover spoke to ITAR-TASS. Here are the highlights (in reverse translation, so take it with a grain of salt):

• There are 14 tracks ready for the new album, probably 11 or 12 of them will pass the final selection and end up being released.
• Release date being considered is somewhere in mid-February 2013.
• There are several album titles being considered, but for now they shall remain secret.
• Regarding connection with Bob Ezrin: Steve Morse met him back when he was in Kansas.
• The band wanted to perform new tracks on this tour, but its management and the record company opposed due to fear of reduced record sales.

Thanks to Andrey Gusenkov for the info and to Romanio for the picture.

Rufus Stone has announced that the signature edition of the California Jam photo book will now come with four autographs: by Jon Lord, David Coverdale, Glenn Hughes and Ian Paice. The signature edition is limited to 350 copies and costs £300 + shipping. Preorders are being accepted at the publisher’s site. The book will ship in December 2012. The is also the vinyl edition (at £200), and the standard edition (at £120).

More dirty laundry is being aired in the Black Country Communion camp. Joe Bonamassa spoke to the Music Radar and made his frustrations public:

The state of things is the same as it was a month ago. You know, if everybody gets on the phone or gets in a room – and most likely it’s going to have to be me and Glenn to hash this thing out – then I don’t rule out ever doing it again. At all. I’m actually particularly proud of this facet of my career. I just rule out doing it in the short term and next year, because at the end of the day, I’m not going to be bullied into doing something that was never on the table from day one because some cat changes his mind and figures out that it’s the best thing he’s got going on – thus it’s going to drag us all into it. That’s not fair. It’s not fair to me.

Meanwhile, Bonamassa’s manager Roy Weisman takes responsibility for the decision to cancel Wolverhampton gig in January:

When BCC was created almost three years ago, everyone knew Joe had a full-time solo career. This project was ‘modern Travelling Wilburys,’ bringing four individual artists with their own careers together to make a great record.

Both Joe and I were always above board about the touring. It was always meant to be from time to time. However, especially with Glenn, this idea seemed to go in one ear and out the other. His manager always knew the deal, even though Glenn wouldn’t stop pressing on the point.

The fact is, Joe’s solo career takes precedence over BCC, and always has. Everyone has known that from day one.

When Glenn started speaking about Joe the way he was in the press, revising history on the spot, it became overwhelming. It got to a tipping-point where it was no longer comfortable for either Joe or I to want to Wolverhampton.

In the end I am the one – not Joe – who made the decision to cancel Wolverhampton. So there it is. All fingers can point to me!

Bonham Jr. also chimed in and he is frustrated about the lack of touring as well:

When I started this project I didn’t know what we were doing. As it took off I thought we were bound to start working more. I’m not blaming anybody in particular – but we should tour. I love everyone in the band and I’d love to take it on the road. Certain powers-that-be are holding us back.

All I know is, when we did the album there was talk of touring to promote it. I thought there would be.

I can go on the internet and I can see Joe’s schedule – he’s booked up throughout the whole year. So I felt: what was the rush to start the album when we did? Surely we should have done it when we had time, and Joe had time, to promote it?

It’s very fucking frustrating: I absolutely adore Joe to bits. He’s one of the best guitar players around. But I just wish we could tour.

I know he’s busy; I get it, I do get it. But Glenn, myself and Derek Sherinian, we’d love to tour. Maybe we’ll figure out some way to do it. Who knows? I just hope we can work something out.

Sources: Classic Rock (here, here, and here) and Music Radar.

Last year Wiesbadener Orchesterverein and Jon Lord were planning a special performance of the Concerto for group and orchestra at the historical Kurhaus in Wiesbaden, Germany. The hall was already booked and tickets already went on sale when Jon was diagnosed with cancer. After careful consideration, the whole idea had to be scrapped.

Nevertheless, the orchestra wanted to pay a special tribute to the Maestro, and will be performing Sarabande in his honour at their first Pop meets Classic event in December.

What: A night of music from The Beatles, Joe Cocker, Queen, Led Zeppelin, Jon Lord of course; plus popular music from cinema and ballet
Who: Wiesbadener Orchesterverein conducted by Frank Segner; with Lothar Pohl, Porky Kronier, Tom Woll, Michael Stein, and others
When: December 15, 2012 at 20:00 (doors open at 19:00)
Where: Friedrich von Thiersch Saal, Kurhaus, Wiesbaden, Germany
Tickets: €25-89 online or at the Wiesbaden Tourist Infromation office on Marktplatz 1

Note: just the title track from Sarabande will be performed, not the whole album.

Thanks to Axel Dauer and Stephan Fischer for the info.