Steve Hoffman, who has a cult following among some audiophiles, has reported in his blog that he’s working on a Fireball remaster which will be released on the Audio Fidelity label:

All done mastering this album. I think this is the first time these tapes were used in over 30 years….

Now, this is going to be the AMERICAN version of the album so no Demon’s Eye. AF tried, but no. We have strict orders to respect the USA song order in our Territory so don’t ask. Just the breaks but this will be the USA album as issued here in 1971.

This is the first time I’ve heard these songs without that ear-splitting treble boost and extra compression used on almost every release since the dawn of time. It’s a relief not to be peeled off the wall for a change.

Still, the album sounds like and will always sound like it was recorded in a dry 6 x 7 room at full volume, heh. At least now you’ll be able to hear some actual texturing in the sound.

One thing I should mention. This album was mixed on bad ‘ol British made Scotch 202 recording tape and is in very shaky shape. The reels were also marked DO NOT USE because the tape is literally falling apart. Even with all that, these mixes are the real deal, not to be imitated so please put up with a little random noise or whatever here and there. I did NOT dump to a digital work station to remove any bias clicks or whatever so you headphone nuts “get over it”. I wanted to be sure you’ll get a pure analog-like sound on your Gold CD so don’t let a tic or something ruin your day. Enjoy.

Most Audio Fidelity releases are straight album versions, so do not expect any bonus tracks.

Thanks to ormandy for the info.

We’ve got further details on the bonus DVD that will be included with the Deepest Purple anniversary reissue. It is still work in progress, so things may and probably will change.

Tracklist:

1. Hush (Playboy After Dark, 1968)
2. Speed King (Vicky Leandros show, German TV, 1970)
3. Child In Time (new clip)
4. Black Night (classic 1970 video clip)
5. Fireball (German TV performance on Disco ZDF, 1971)
6. Strange Kind Of Woman (Top Of The Pops, BBC, 1971)
7. Demon’s Eye (Music Today, RBB Berlin)
8. Highway Star (Beat Club, German TV, 1971)
9. Never Before (classic 1970s video clip)
10. Smoke On The Water (Hofstra University, 1973)
11. Woman From Tokyo (new clip)
12. Made in Japan / Space Truckin’ (new clip from MiJ footage)
13. Burn (London 1974)
14. Stormbringer (new clip)
15. You Keep On Movin’ (new clip)

Each clip will be presented by Jon Lord discussing the song’s development, in the similar vein with the outtakes that we presented yesterday.

Items marked as a “new clip” are newly developed videos using archival documentary material from the period. For example, we were able to preview Child in Time, which in itself is a very much work in progress. The clip is based around the studio album soundtrack with bits of Doing Their Thing footage synchronized to it in appropriate places. The rest of video shows period footage with the apparent idea of conveying the sense of uneasiness and apprehension of growing up in the shadow of the Mutually Assured Destruction, which is after all the theme of the song’s lyrics.

Big Ian in the latest installment of Dear Friends addresses the contentious rumours of the band’s “last tour” amidst contemplating the viscous membrane of our finite universe:

It would be an exaggeration if I said there have been ten band meetings since ’69, and most of them ended down the pub with nothing decided at all. So to plan an album for example would be a first time event (they just happen, or not) and to plan an organised retirement would be quite simply beyond our capabilities.

I suppose something will drop off eventually but for the time being come ahead McQuillan.

Read his musings on Caramba!

EMI Music will be releasing in late October a new anniversary version of the Deepest Purple compilation (which in itself was a bestseller going straight to #1 spot in UK). The anniversary release will include a bonus DVD featuring a range of video clips presented by Jon Lord. Several bits and pieces had to be left out for various reasons, which we are glad to be able to see now.

Hallelujah with Jon describing what happened at the time that Ian Gillan & Roger Glover joined the band:

In Rock and the evolution of Deep Purple sound towards heavier music (featuring excerpt of Mandrake Root from the Southbank Summer show):

Made In Japan being put into historical prospective (featuring Highway Star footage, whilst the DVD will feature Space Truckin’ instead):

Glenn Hughes has decided he wants to spend the last third of his career playing rock music. The kind of music that earned him his fame in the early 70s, first with Trapeze and later Deep Purple. The vehicle that is intended to start this new phase of his career is Black Country Communion, the brainchild of producer Kevin Shirley.

Shirley had seen Hughes guesting at a Joe Bonamassa show in LA and thought there could be a band in the making. Rounding up the line-up with Jason Bonham on drums and Derek Sherinian on keyboards, they set out making their debut record in Malibu in January of 2010.

With Hughes amping up excitement for the project on Twitter during the last few months and recently stating in an interview that BCC sits comfortably alongside Led Zeppelin’s IV, Black Sabbath’s debut, Burn and Made in Japan in terms of sound, expectations are naturally high.

Can the album live up to those expectations? Probably not, but what it does offer is an excellent dose of old school classic rock spread out over 70+ minutes, with ”side one” being the strongest.

BCC is a band that has several things going for them. Very tasteful guitar playing, energetic drumming that never gets in the way of the songs and a strong live feel that is very refreshing to hear in these days of overdistorted rock albums and excessive overdubs.

Their music is not necessarily breaking any new ground, but it’s competently performed and Bonamassa in particular gets to shine. Indeed, in many ways it feels like a more rock based Bonamassa record with a heavier backing. He takes the lead vocal on two songs, and is given plenty of room to do his thing. Bonamassa’s playing comes from a time when the vibe was key, and this album is all the richer for it. There are melodic guitar solos a plenty and most of them feature his signature ”cascade of notes”. Overall, his playing does have the feel of being very much first take, which lends a nerve to the solos.

This leaves us with the second mainman of BCC, Glenn Hughes. Arguably one of the finest and most versatile singers there is, but also prone to excess sometimes. His work on this album is no exception, but he sounds excellent for the most part. As if to prove he’s really back in rock mode, there’s quite a lot of screaming from Glenn on here and although difficult to fault from a technical standpoint, some of it could have been trimmed back a bit. He has just as much presence when he restrains himself just a little bit. Some of the screaming takes away from the feel he still has in spades.

The album kicks off with a strong trio of songs, part of the appeal being the way they flow into each other. They pack a good punch and things are not dragged out for too long.

Black Country first, with its persistent guitar rhythm, edgy bass work and busy drumming. Glenn sounds forceful in a good way here: ”I am a messenger, this is my prophecy. I’m going back to the Black Country”, signalling the start of the album and project. There’s a short guitar solo at the end and without much further ado, it’s onto the next one.

One Last Soul, the natural choice for a single, has Glenn taking the front seat again. The catchy chorus, with its pumping bass line, would not sound out of place on American classic rock radio if given the chance. Nice guitar parts too.

The Great Divide is really strong too, for the most part. The somber feel of the verses is appealing, a laid back bass line driving them forward. Great phrasing and feel in the vocals. A neat build-up goes into the chorus, which is more powerful and dramatic: ”I’m on the great divide, I’m sanctified, be by your side…” The screaming outstays its welcome just a little bit towards the end of the song and some more variation here would have given it a full score. The guitar solo at the end is superb though: the tasteful choice of notes and the warm tone.

Down Again has the foundation of a pretty standard blues rock riff, but Glenn’s vocals manage to elevate the song into something a bit more special. The chorus sticks with you upon repeated listenings. A few of the phrasings is reminiscent of old Glenn – Phenomena? Some short guitar improvisation towards the end and that’s it. It sounds like a first take.

Beggarman is faster in tempo, has busier drums and a Hendrix styled main riff that repeats itself. A pretty basic chorus, ”I won’t be no beggar man…”, that wouldn’t have sounded out of place on Hughes’ ”Songs in the Key of Rock” (2003). Think of this song as a slightly more refined ”Gasoline”. In fact, a lot of the vocal delivery on BCC is reminiscent of ”SITKOR” and ”Building the Machine” (2001), in the way that there’s a lot of belting it out. Yet somehow I think Glenn sounds more inspired here as part of a group. There’s a short but sweet wah wah solo at the end of the song, with Glenn grooving in the background, before another run through of the chorus rounds out the song.

Song of Yesterday opens with a gentle Bonamassa guitar melody, which repeats itself to good effect. Bonamassa starts singing a few soft lines, and we’re getting close to the blues feel of his solo albums. They take their time with the intro, letting it build up, even adding some strings. Then an old school Free-ish blues riff breaks it off, and the song starts proper. Bonamassa sings lead on this one, with Glenn providing backing vocals and general embellishment. It’s tastefully done the way the song switches between soft middle passages and back to the main riff. Bonamassa can hold his own vocally, and the duet works well as a result. The guitar solo of the album comes at the end of the song, and is once again a display in feel and melodic sensibility. It’s very good. A building ”humming” section follows, with Bonham bashing it out in the background, before a repeat of the gentle guitar melody brings the song to an end.

No Time follows and is the first song on the album that has a slight filler feel to it. Its foundation is Bonamassa and Hughes (great bass sound here) simultaneously playing a riff that that has traces of Zeppelin’s ”Misty Mountain Hop” in it. Unfortunately, the verses are not that memorable, and the chorus is pretty ”standard fare” as well, hence the filler feel. It’s got a short middle section (with Kashmir-like strings), a nice build-up to the chorus and then it’s back to the main riff one last time. Not a poor song by any means, but not a stand out either.

Medusa is a remake of the Hughes penned Trapeze song from 1970. Glenn sings it beautifully with lots of feel. The version stays quite true to the original, but sounds surprisingly at home on the album. A testament to how the BCC sound is firmly planted in that early 70s era of British rock.

The Revolution In Me is the second song Bonamassa gets to take the lead vocal on. With a start and stop guitar riff, supported by Sherinian on the Hammond (he mostly stays in the background on this album), the song has Joe singing verses that are slightly too basic. A capable but fairly directionless instrumental mid section, and then back to the main riff again. Standard blues rock, but it’s kept fairly short.

The album is somewhat back on track with Stand (at the Burning Tree), a song that offers a little bit of everything: a lingering Bonamassa riff to start off with. Glenn sounds cool and funky in the verses and in the lush 70s melodic lead-up up to the chorus, which is sadly a bit too ordinary. A short Hammond and guitar solo in the middle is followed by another run through of the chorus, with Glenn adlibbing parts. More guitar and Hammond at the end.

Sista Jane has Glenn and Joe trading vocal lines in a song that somehow lacks the drive and special ingredients to make it stick out. It doesn’t really grab your attention. They go into a little jam towards the end, with Bonamassa leading the proceedings. Ends with Who-like synthesizers.

Too Late for the Sun is the long and mostly slow paced jam that closes the album. Circling around a start and stop bass line it has Joe and Glenn doing more vocal swapping. This is old school with an ”as we go along” feel. Some richly layered vocal harmonies in the chorus, with lots of mildly spaced out improvisational sections in between. It’s not the showstopper one could have hoped for, meandering along rather than knocking you off your feet. On the other hand, it never gets boring and then it still clocks in at 11+ minutes.

So how to summarise BCC’s debut? The briefness of the recording sessions, the whole album being cut in roughly 7 days, is definitely one of its biggest strengths. Yet at the same time, a few of the songs could have used some more work. Still, it appears to be somewhat of a grower and 2-3 listenings are needed before the songs start coming to life. The band’s rich and warm organic sound has a distinct appeal and it will be interesting to see where they go from here, with a tour planned to start in 2011 and Hughes already talking about making a second album.

Daniel Bengtsson

Black Country Communion is being released in the UK on September 20 and in the US on September 21.
You can pre-order the limited edition of the album (including a DVD) at Play.com.

This is a combined review of 3 concerts.

It’s my 40th Anniversary … of following Deep Purple’s music. This came to mind during the 3 concerts I attended recently – 28th May at The Dome, Johannesburg; 30th May at the ICC Arena, Durban; & 1st June at the Grand West Arena, Cape Town. Bernie Shaw, the lead vocalist of Uriah Heep, mentioned at each of the concerts that it’s their 40th Anniversary, triggering my realisation.

It was late 1970, the last term of Standard 4 at Bulawayo’s Hillside Junior School (then Rhodesia, now Zimbabwe – 2nd generation Anglo-African, descended from 1820 Settlers stock), when a change of class led to making a new best friend. He & his younger brother, plus their folks, were artistic, musical types – I was like a country cousin, having grown up in a ranching community in southern Zambia.

They quickly & simultaneously introduced me to The Goon Shows, Monty Python, The Beatles, & Deep Purple (the rest we discovered together). The first album I owned was “A Hard Day’s Night”; The second was Deep Purple’s “In Rock”. Suffice it to say that my life was irreversibly changed! Of course, we also formed the obligatory 70s garage band (I played drums – very badly at first, until taking tuition & gaining experience in different genres).

It took 25 YEARS before experiencing a live, in-the-flesh, Deep Purple show (one of Steve Morse’s earliest) – their last 2 concerts during their first ever visit to South Africa (Johannesburg, 1st & 2nd April 1995, having performed a show each in Pretoria & Durban, plus several in Cape Town in March). This makes the dvd of “Bombay Calling” very special to me, as it was their very next concert – 6 days after the final Joburg show.

My youngest daughter attended that concert still in her mother’s womb (3 months before her birth) – she’s still a fan! Both of my teen daughters (17 & 14) were with me at the recent Joburg show. They’re still talking about it – I think they found it almost a life-changing experience, & have been gloating ever since to their school friends who couldn’t get tickets.

Late last December, as I clicked onto the website of the Deep Purple Appreciation Society (www.deep-purple.net), I was thinking about the 2010 Soccer World Cup & fantasising about how amazing it would be if Deep Purple returned to South Africa after a 15-year break. Can you imagine my surprise & delight to read the Masters of Rock SA announcement?! That’s when I knew 2010 was going to be a memorable year.

At each venue I sat in much the same area – stage left in the lower part of the grandstand with an unrestricted view, except for a speaker column at the Joburg show blocking out Paicey … this gave a disconnected feeling, as did looking at the 2 huge video screens on either side of the stage; it felt like watching a dvd, which is not what you’d paid for (SABC 3, one of the main sponsors, filmed the Joburg & Cape Town concerts).

The Durban venue was the most intimate experience of the 3 – a narrower configuration with the seating closer to the stage, & no giant video screens.
In my opinion, the best concert overall – sound, mix, balance, performances, and crowd response – was in Cape Town. Coming into the venue from the outside parking, the Grand Hotel was prominent (I wondered whether any of the Deep Purple entourage noticed, given the lyric in “Smoke on the Water”).

The crowds were fantastic at each venue, it’s just that the Cape Town bunch topped the lot – my gauge was looking over the golden circle standing areas below my vantage point & checking the level of applause, whistling, cheering, singing, clapping to the rhythm of some of the riffs. 19’000 fans filled The Dome (verified by a contact within the venue management), with an estimated 6 – 7’000 each at the other two venues.

Two things commented on by both Bernie Shaw & Mick Box of Uriah Heep at each show: their surprise at how many young people were there, & the amazing audience response (this seemed genuinely sincere on their part). At the first show, Mick even said during their performance, “We want to come back already!” He added that they would love to return to do a full two-hour concert.

In Durban he said that he was “gobsmacked” at the response level. It may have a lot to do with South Africa’s starved live rock scene – unlike so many of the overseas fans, we don’t get the opportunity to see DP on our home ground every year (twice in 42 years … that’s all, folks!).

Wishbone Ash arguably gained the most mileage from this memorable short tour – I heard so many favourable comments from audience members after each of their performances ( Most punters were not familiar with their catalogue – kudos to Chris Venter of Universal Music South Africa for compiling “Best Of” 3 cd sets for both WA & UH).

Not having keyboards as part of their sound, & faced with the typical lower volume of an opening act, they played their hearts out, delivering competent, solid, entertaining performances. Of the 3 acts, they experienced the least sound problems (I guess that multiple keyboards add extra complexity to the mix).

Uriah Heep’s performances were also very consistent, with the Durban show probably their best (Although Joburg was a close second, & Cape Town still good). Each concert took a leap up when UH hit the stage – volume, tempo, energy, lighting … the sound seemed to expand in every direction to engulf you. Where WA’s sound was in front of you, UH surrounded you (something sustained & enhanced by DP). Both WA & UH had great vocal harmonies in many of their songs.

Each band came across as really enjoying themselves on stage – DP’s front three move around a lot on stage … coming together, changing sides, roaming around the full width available, & trying to connect with each part of the audience ( Roger & Steve display the most consistent upbeat, involved energies, & remain on stage the longest after the encores, interacting with the fans).

It was Deep Purple who improved noticeably over the tour’s duration – not surprising, given the massive long haul travel they’d endured to get from Malaysia to Russia & then from Armenia to Johannesburg, South Africa … by Cape Town they had lifted the bar considerably, & Ian Gillan in particular was really on top of his game (from the first screams of “Highway Star” to a short refrain of “I’ll See You in My Dreams” at the end of the encores).

Just as an aside, at the end of the Joburg encores, IG’s parting comment was, “Enjoy your summer …” After an audible gasp from the audience , he hastily corrected, “I mean winter”.

It was an unexpected pleasure after my arrival at Cape Town Int’l Airport, on my way to the exit area, to bump into the DP entourage. In fact, it felt so surreal & dream-like. However, I managed to overcome any hesitation & introduced myself to Roger & Paicey, who were standing chatting together next to their luggage.

They were very pleasant & friendly – Roger has an easy, quick wit. After congratulating them on the Durban performance the night before, I said how much better the sound was than in Joburg. Paicey immediately agreed, noting that although The Dome is a great sized arena, it was like playing in a big barn (adding that some things as a performer you don’t have control over).

All the guys looked very relaxed & content – much had been made by IG during the Durban concert of spending time on the beach before the show (Steve was introduced for his solo spot as something like, “And now fresh from the beach … the well manicured Steve Morse”. And Don’s intro was “the man who spent the day on the beach”). Bernie Shaw of UH also referenced time spent with surfers during their day off.

IG was most chipper & chirpy during the Cape Town show (in Joburg he & Paicey seemed to be suffering from jetlag. Paicey’s snare drum sound was not right until Cape Town – it sounded choked or flat & too thin at the first 2 shows).

The Deep Purple setlists (the first 3 numbers were played without intro or any chat in between – each segued into the next, led by Paicey thrashing the intro beats on his hi-hats or crash cymbal):-

1. Pre-recorded Prokofiev into Highway Star (according to Brian Currin on his Masters of Rock SA blog, it is from “Romeo & Juliet”, which ELP recorded on their “Black Moon” album) ;
2. Things I Never Said;
3. Strange Kind of Woman (duelling between IG & SM);
4. Maybe I’m a Leo (IG puts on Ray Charles like shades during the solo whilst handling tambourine);
5. Rapture of the Deep (introduced by IG as being off “our new record … or our most recent lp”. In Cape Town, he made a quick comment about probably recording a new album soon);
6. Fireball, incl. The lnto The Fire outro (IG turns to Roger, asking “shall we play a slow, quiet one, Rog?” before Paicey unleashes the familiar drum riff);
7. Steve Morse – Contact Lost/Solo (morphing into);
8. Sometimes I Feel Like Screaming (& straight into);
9. Well Dressed Guitar;
10. Mary Long (IG returns after a shirt change – gives a brief history of the song afterwards);
11. Lazy (this was prefaced by a brief Don solo & a tease from the opening riff of “Perfect Strangers”);
12. No One Came;
13. Don Airey Solo – dramatic classical into boogie woogie, some referencing of Afrikaner Boere Musiek, & a few bars from the first section of the South African National Anthem. In between all of that was an amazing demonstration of the varied & different sounds & styles he can get out of his set-up. He really looked in control & as though he was thoroughly enjoying the gigs;
14. Perfect Strangers (no teasing this time);
15. Space Truckin’;
16. Smoke on the Water (in Joburg & Durban, SM referenced several well-known rock riffs before the immortal one … in Cape Town he only played “Owner of a Lonely Heart”, joined by Roger & Paicey. It seemed as though he intended to play more, but changed his mind at the last second, as the SOTW intro was slightly fluffed);
Encores:-
1. Going Down* (just the first instrumental section before Paicey cymbal thrashes into);
2. Hush (with the briefest drum solo at the end … perhaps 30 seconds or so);
3. Roger’s Solo Spot, after which Paicey thrashes into;
4. Black Night.
*In Durban, Booker T & the MGs, “Time is Tight” was used instead of “Going Down”.

Each concert started around 7 pm, finishing around mid-night. WA & UH each performed for 50 minutes to an hour, with DP doing 1 hour 45.

The Meet & Greet/VIP Package offerings were sadly lacking, which was really disappointing – something the promoters, the band & their management could have done better, given the lack of frequency of touring Africa as a whole, as well as the incredible audience support & response.

In Joburg, through a contact of a contact, I thought I had arranged for my daughters & I to meet them – at the last minute, we were advised that they would not be meeting anyone, not even the venue management or the promoter’s people.

In Cape Town, however, I discovered after the show that there was in fact a backstage meet & greet. Despite my valiant efforts & waiting for an hour, I couldn’t gain admittance (this makes my casual encounter at the airport the afternoon before all the more cherished).

As South African fans, we can only hope that the promoters & sponsors will be encouraged enough by the results of this tour to make it happen again in the near future – bliss would be an annual Masters of Rock SA Tour ( a.k.a. Deep Purple & Friends). . . how is it that our SANZAR rivals Down Under get it right?! If the interval of 15 years is used as a benchmark, then I have serious concerns about any future visits to South Africa in this lifetime.

See great photos from the Cape Town concert taken by Brian Currin’s son, Michael. And for some stunning photos from the Joburg show of each of the bands, go to Shayne Robinson’s blog, (Some of his shots were published in the CitiVibe supplement of The Citizen newspaper on Saturday 5th June, 2010).

“Fungus Gil” has been chosen as my nom-de-plume as a tribute to my best mate ever, who was responsible in 1970 for changing my worldview permanently. This was his high school nickname, largely prompted by teenage facial hair & skin condition. Our junior school trio, known as “The Rock ‘n Roll Conspiracy”, at high school evolved into “The Fungus Gil Fiver” when his brother & cousin, plus another mutual friend joined the band (& one of the original guys left).

A couple of days ago both Deep Purple official sites have posted denial of unspecified rumours “from an unknown source” that the current European tour will be the band’s last:

This is not the end.

We frequently receive emails from fans saying that they hear in the news that the fall/winter tour is the last tour Deep Purple will do. This is simply a rumor and should not be taken as a fact.

Deep Purple and the management, Thames Talent Ltd, would like you to know that this is NOT the last tour of any market place.

Frankly, that’s the first we have heard of such a rumour, although many a promoter is too eager to stretch the truth somewhat in order to boost ticket sales. If you came across an unscrupulous advertising, please post your experiences below.

Blackmore’s Night will release its new album called Autumn Sky on September 3 via Spinefarm/Universal throughout the world, and on Sony for Germany, Austria and Switzerland. Additional cover art will be used for different territories. Songtitles set to appear on the CD include All The Fun of the Faire, Journeyman, Vagabond (Make A Princess of Me) and Strawberry Girl.

This CD is inspired and dedicated to Ritchie and Candice’s first child, Autumn Esmerelda, who was born on May 27, 2010. She weighed in at seven pounds, four ounces (3.9 kg).

Thanks to Blabbermouth.net for the info.

The Deep Purple Mark 4 documentary has been completed for release in December 2010. The exciting news are that the footage of the infamous visit to Indonesia in December 1975 has been located and will be included in the documentary. Titled Gettin’ Tighter, the 70 minute video will be a part of Mark 4 package also including a 30-minute HD presentation from Tokyo’75, previously available on VHS and laserdisk as Rises Over Japan. The package will be released in both blue ray and regular DVD formats.

Four years in the making, a new all star tribute album to Tommy Bolin is getting closer to release. This weekend’s Tommy Bolin Music Fest is, in addition to live music, a pre-release for for the album, called “Mr. Bolin’s Lake Night Revival.”

The album is a collection of artists doing creative renditions of Bolin’s rare acoustic demos. The disc’s US release comes this fall, and will be promoted through an addiction awareness campaign.

The 17-track release includes jazz and soul elements in addition to hard rock and power ballads.

Contributing to the recording are members of Boston, Dokken, Rainbow, Alcatraz, Mr. Big, The R. Kelly Band and The Ted Nugent Band, and others.

According to Sioux City Journal, proceeds from the new album will to go Jackson Recovery Center, a drug and alcohol recovery center in Sioux City. The “new” material comes from a reel of acoustic demos stashed in the back of an amplifier.

“The idea is to rehab Tommy’s image and legacy,” said Bill Schenk to Sioux City Journal. Schenk is a Chicago producer, Bolin family friend and producer of the album.