Joe Lynn Turner: On Working With Deep Purple

Jon Lord and Ian Paice were feeling jealous from and threatened by Joe Lynn Turner when he was the singer of Deep Purple in 1990?!!

This is what the Turner said during an interview back in 2008 on Living Legends (see below) Talking about the writing of the fellow up to Deep Purple's Slave & Masters with him on vocals after Gillan left in late 1987, Joe Lynn Turner said: "...for the second album (following Slave & Masters)... they didn't want to hear it." He goes into details "Ritchie and I were OK with it. Roger was in the middle, and there was Jon and Ian (Paice) that were absolutely against it. They were really... I have to say it, absolutely jealous... absolutly jealous, and I don't... care... what you say... guys... you are... you were threatened. and I understand that! They felt it were slipping away from them, because the focus has been shifted, and it was, because of more commercial purposes. And that's exactly what we suppose be doing. Becoming more commercial... "

As a matter of fact I never imagined Turner singing any song from Battle Rages On album.

Mr Turner's work on Rainbow is outstanding, and his work on Slaves & Masters is excellent. No doubt about it, but I don't see opposing an attempt to change Deep Purple into a hair-metal band, for example, would be threatening the career and future of giants like Ian Paice and Jon Lord! Jealousy? from a situation where Turner and Blackie trying to change the future of Deep Purple?

Please... I don't want to be harsh.

As I said, Slave & Masters is a great album, but most of DP fans and music critics agreed that the album was (and still does) sound like a typical Deep Purple one, but certainly more like one of the best Rainbow albums.

I think this is one of the reasons Jon and Paice were against a second shot to take with Turner on helm - I still doubt that Roger Glover went with it in the first place.

First time I listened to Slaves & Masters was at a friend's house. That was a couple of months after the album came out in Europe. My friend phoned and asked me to come over to his house. When I entered the house it was the first time when I heard "Fortuneteller". We gave the album a very in depth listen, and a second one. I was filled with joy from the first listen. The album is just great: lyrics, music, singing, mixing and production.

However, I agreed with my dear friend when he said that this brilliant album was more like a Rainbow album. My judgment was not based on comparing this album with Perfect Stranger or Machine Head aka Gillan on vocals, I adored Deep Purple when Coverdale and Hughes were on vocals, that was Deep Purple too. 

I never thought of Deep Purple as Blackmore's band...

... but this is a different story to tell.

Nevertheless, this is my opinion as a fan.

Interview With Steve Morse

An excellent interview by MusicRadar with Deep Purple's maestro and legendary guitarist Steve Morse. The interview was done during Deep Purple's world tour last year.

The interview touches on many subjects, from early days with the Dregs, Deep Purple, playing technique adn future plans.

One of the highlights from the interview I liked most is talking about the time when he met with Deep Purple's management and band members for the first time back in 1994. Steve Morse admitted that he had some trepidation:

"Actually, I did have some trepidation. They asked me to join the band, but I'd never even seen them play live. They played all over the world, but they didn't play a lot in America. I didn't know what they'd be like, whether they were a band just living of their name and not into new ideas – all those things. So my manager, Frank Solomon, set it up Deep Purple's manager that I would play four shows with the band. That way, it was an easy get-out-of-jail arrangement on both sides if we were unhappy."

"I didn't know what to expect, but during my first rehearsal with the band, which was only a couple of hours before we were supposed to do a gig, I was blown away by how great they were. I think we were all surprised at how good things sounded and how easy the chemistry was. Within an hour, we were laughing and slapping one another on the backs going, 'All right, this is gonna work!'"

Steve Morse also talk about his guitar playing technique live and while recording albums in studio, whether recording with Deep Purple or for his solo projects. There is a video giving a demonstration of his signature guitar, with some shredding and soloing that leave you speechless.

No one can beat this man's guitar technique - John Petrucci of Dream Theater himself consider Steve Morse as his idol.

I think he got used to that, but it looks like inevitable in an interview with Steve Morse without seeing/hearing/reading about the subject of comparing him with Ritchie Blackmore. This interview is no exception.

One of his responses to the question about his approach:

"In truth, my attitude about my guitar was more based around what the band wanted, and what they said to me flat-out was, 'Don't copy Ritchie.' They told me that right off. They could've picked from plenty of people who wanted to be just like Ritchie Blackmore in Deep Purple. That's not what they wanted. They wanted somebody with his own persona – and not only that, but a strong persona.

"If I would play a Strat, everything would go right out the window and I'd be entering into that land of parody and emulating Ritchie Blackmore. I respect him totally, but I don't want to be him in a Deep Purple cover band."

I personally hate this non-sense comparison. Steve Morse is the longest-serving guitarist in the history of Deep Purple. He co-wrote with them fantastic albums, such as Purpendicular and Bananas. I have seen him playing live with Deep Purple three times, and if I have the opportunity again I will definitely go. His presence and charisma on stage is nothing to compare with the that of Blackmore. This is a fact.

Speaking of playing DP songs live, "Highway Star" is Steve Morse's favorite Deep Purple song to play on stage, because it has a lot of changing parts...

"Plus, it has that awesome keyboard solo, which is an absolute work of art. If you were to say to me, 'Name me one of the greatest examples of classical meets rock music,' I wouldn't have to think too hard. And the guitar solo is a lot of fun to play."

In the interview he also explains how to play Smoke on the Water. Check it out below:

Steve Morse talks briefly about Deep Purple's progress regarding the recording of their new album - the last studio album by the band was "Rapture of the Deep", released in 2005.

"We've got the music pretty mapped out for the majority of the recording. The goal on this album isn't to stretch out to new heights; it's more about revisiting the roots – riff-oriented blues rock. Heavy stuff, you know?"

The full interview can be found here

Jon Lord Concerto For Group And Orchestra 2012

Delivered today by post, a copy of Jon Lord’s studio version of the Concerto for Group and Orchestra.


Unfortunately, this album is the final chapter in the life of Jon Lord, an outstanding musician. A man with a personality that inspired many and loved by many. His sudden death last July was a devastating, a big shock. 
A bright beautiful star has faded away from our lives. Jon Lord will be forever missed. 

The Concerto for Group and Orchestra originally performed by the Royal Philharmonic Orchestra conducted by Sir Malcolm Arnold at the Royal Albert Hall on September 1969 with Deep Purple MKII. Some say that this life performance took place shortly after bringing Gillan and Glover into the band, even before recording their first album In Rock.

After the show part of the original score went missing. That was in the early 1970's. Until the late 1990’s when Dutch composer, Marco de Goeij wrote a transcription of the Concerto, by listening to the original album, and from watching the video tape of the live performance. He met Jon Lord later and presented the score to him. Celebrating the 30th anniversary Deep Purple began the “Concerto Tour” in different countries with special guests, such as the late Ronnie James Dio, Ian Anderson, Steve Moors and others. Again the show at the Royal Albert Hall in September 1999 was filmed and released on CD, DVD and Blu-ray.

I was there on 30 October 2000 at the Rotterdam Ahoy, The Netherlands when the Concerto was played in its entirety. Jon Lord introduced the band before starting the music, and he also brought Dutch composer, Marco de Goeij on stage to thank him for his immense effort in bringing the Concerto to live again. It was a show that I will never forget as long as I live. 

Jon Lord left Deep Purple in 2002 and put his time mainly around composing classical music. Not until a couple of years ago when he decided to record the Concerto for Group and Orchestra in studio.

This version of the Concerto is performed by the Royal Liverpool Philharmonic Orchestra and conducted by the great Paul Mann – the same conductor of the 30th anniversary shows. No current or previous members of Deep Purple are involved in this project, except for guitar master Steve Morse. It was Mr. Lord’s decision to have different musicians on the album this time, to have different personalities and musical background and not put the focus on a single band, according to the liner notes of the album.

The Concerto consists of three movements:
1. Moderato - Allegro (16.20 minutes).
2. Andante (19:34 minutes).
3. Vivace - Presto (10:48 minutes).

The sessions were recorded in Liverpool, London and Sofia, but the final mixing was done by Andrew Dudman at Abbey Road Studios in London.  

When I read earlier this year about Jon Lord's taking the Concerto into the studio, first thing I was wondering about was how on earth are they going to make the entrance of the "rock band" this time? I am referring to the 6 plus minutes of the the first movement, Moderato, because it is the most crucial spot in the whole score, in my opinion. This is by far the moment when rock music aggressively suppose to clash with classical music!  This suppose to be the first contact, the first impact. Those who have seen the 1969 performance remember when Ritchie Blackmore launched that heavy-artillery attack with a guitar solo that left Sir Malcolm Arnold and the Royal Philharmonic Orchestra dazzling in a swirl. On the 30th anniversary version, Steve Morse took matters differently by showing the audience a premier in musical punctuality with a masterful sensational solo.

Both guitarists managed to take breath away with their magical guitar playing. Thus, I was asking myself if the new recording will have a new or similar magic! The answer is a big yes!

I never heard of him, neither heard his playing before, but Darin Vasilev's fret shredding and finger tapping solos on the first movement of the Concerto is just jaw-dropping. 

It was not only the guitar playing here, there is something else added to this guitar mayhem at that “entrance” of rock to the world of classical music: it is Brett Morgan on drums!! wow

Lost count how many times I replayed that part of the first movement just to listen to the way Brett Morgan played drums.

The second movement, Andante, is what many call it the event when a “truce between rock and classical music is taking place”. On this movement we have the singing part which Ian Gillan wrote the lyrics one or two days before the event back in 1969. On this version the singing is divided among three perfect vocalists: both Kasia Laska and Steve Balsamo delivered fine singing lines and exchanged harmonies on the first part, while Iron Maiden’s legendary Bruce Dickinson sang magnificently the remaining parts.

 Joe Bonamassa choice to play guitar on Andante was the spot on. In addition, I loved Bonamassa's way of complimenting Dickinson singing through his solos, and use of power chords in the background.

On the first and second movement of the concerto you can sense very little changes to the composition of original score. Basically, the score is based on the 1999 version, but the third movement, Vivace - Presto, is where I felt personally where most of the changes were made to the score. These changes definitely added glory to the overall score.

And I am so glad to hear Steve Morse putting his wizard touch again.

The third movement is shorter than the previous versions. For example, they shortened the drum solo in the middle prior to the 6/8 tempo. However, I felt that the third movement on this record is the most accurate and "clean" version of the Concerto.

The CD has a 20 page booklet with pictures from the recording sessions, and liner notes by Paul Mann and Jon Lord's family. Beautiful and warm words, all paying tribute to a giant in music history. It is sad as well as a relief to know that Jon Lord himself listened to the final mix of the record couple of weeks before his death. The same thing regarding the cover art and the design of the CD.

Jon Lord will be missed among us, but his music, all his music will remain forever in the minds and hearts of his fans. The proof is the attempt by fans to include Jon Lord's music into the BBC Proms earlier this year.

Rest in peace, Jon Lord.

Below is a video fragment from the recording sessions of the Concerto for Group and Orchestra

Deep Purple, Rush and Heart For Rock and Roll Hall of Fame

 

 

The Rock and Roll Hall of Fame has announced a list of nominees to be inducted as part of the 2013 class.

Rush and Heart expressed their excitement and thrill with the news through their Facebook pages,

Previously, Rush guitarist, Alex Lifeson said during an interview with Guitar World magazine that he "really don’t feel the need to be in the Rock and Roll Hall of Fame because, at the end of the day, it’s just somebody’s Rock and Roll Hall of Fame".

For Heart, I think this news is a boost to their already fame status, because this news coincide with the release of their new album "Fanatic", also with the release of of their autobiography book entitled "Kicking and Dreaming: A Story of Heart, Soul, and Rock and Roll".

Fans can vite for their favorite band n the rock and roll hall of fame website here

The Story Behind WhoCares Double CD

In a recent interview with Ian Gillan, he talked about how the double CD compilation album of him and Iommi released recently under the name WhoCares came about.

Gillan talks about the work with Iommi after all these years - remember he was fronting Sabbath after recorded with the band one of the best albums ever made, Born Again. He explains how Iommi is so easy to work with.

He also tell the story of how the song "Out of My Mind" was written by the super group

We wrote ‘Out Of My Mind’ at Tony’s place.”  He co-wrote the other WhoCares song, “Holy Water” with Steve Morris, with whom he’s worked with on various solo projects. He said that it wasn’t difficult to get everyone onboard. “I called Nicko, who recorded live with Jon Lord, Tony and myself in London. Tony called Jason who played his part in America.”

In addition, Gillan felt so great about his short reunion with his former bandmate, the late Jon Lord, with some insight into his friendship with late composer.

Full article is can be found here

I bought the CD when it came out, and was not dissapointed, because it contains some gems, songs put together by the two legends that spans their 40 plus career, in addition to the two songs written and recorded on earlier date and came out as a single.

I was surprised but rejoyced seeing "Anno Maudi" among the songs. The album inlay also carries a lot of notes by Iommi and Gillan for each single song.

In short, We have one album with Black Sabbath and Iommi solo stuff, as well as Deep Purple and Ian Gillan stuff in one package.


Track Listing on WhoCares:
Disc: 1
1. WhoCares "Out Of My Mind" Featuring Jon Lord, Jason Newsted and Nicko McBrain
2. Black Sababth "Zero The Hero"
3. Ian Gillan feat. Iommi, Ian Paice and Roger Glover "Trashed"
4. M. Rakintzis feat. Ian Gillan "Get Away"
5. Tony Iommi feat G.Hughes "Slip Away"
6. Gillan "Don´t Hold Me Back"
7. Ian Gillan "She Thinks It´s A Crime"
8. Repo Depo feat. Ian Gillan "Easy Come, Easy Go"
9. Deep Purple feat.Ronnie James Dio "Smoke On The Water"
Disc: 2
1. WhoCares "Holy Water"
2. Black Sabbath "Anno Mundi"
3. Tony Iommi feat. G. Hughes "Let it Down Easy"
4. Ian Gillan "Hole in My Vest"
5. Gillan & Glover feat. Dr.John "Can´t Believe You Wanna Leave me"
6. Ian Gillan & The Javelins "Can I Get A Witness"
7. Garth Rockett & The Moonshiners aka IG "No Laughing in Heaven"
8. Ian Gillan "When A Blind Man Cries"
9. Deep Purple "Dick Pimple"

Rock Star Daughters

I saw this on Ultimate Classic Rock website. It is a selection list of 17 attractive young women who happens to be daughters of rock legends, such as the Rolling Stones, Rod Stewart and Van Halen.

Interesting after reading about each one of them and their path into fame, not by following their fathers route in music industry, but mostly through modeling and fashion design. Some choose acting and scoring in Hollywood blockbusters, and there are also who has been into porn!

UCR could stretch the list to include other rock star daughters, in my opinion. How come 17?

There are others who also involved in modelling and fashion business, such as 18 years old Frances Bean Cobain, daughter of Nirvana's Kurt Cobain and Hole's Courtney Love, or India Waters, daughter of Pink Floyd's Roger Waters, or even Amber Le Bon - if we consider Duran Duran rock, and not Pop.

But I am sure I can come up with more to the list, such as...

Lauren Harris

Born on 6 July 1984. Ms Harris is the daughter of Iron Maiden's founder and bassist, Steve Harris. She started music by forming her own band and released an album back in 2008 called Calm Before The Storm. , and she appeared with her band on a number of rock festivals in 2008, such as Download.

The band played on that album included Richie Faulkner, the new guitarist of Judas Priest who replaced legendary K. K. Downing who left Priest in 2011.

Last year and after the departure of Faulkner, Lauren Harris formed another band and called it Six Hour Sundown and in December 2011 the band released a single called Jekyll and Hyde.  

The music is promising, so hope to see more from this band in the near future.




Toni-Marie Iommi

She is the one and only daughter of the one and only titan in metal, Tony Iommi - a name that would bring shivers when heard in rock and metal circle, of course. Toni-Marie was born in 1983, from a former American model. 

Toni-Marie used to sing as main vocals in the short-lived British band called Lunarmile back in 2007-2008. They released an EP called 4 AM before breaking up. Lunarmile also included on bass guitar Alex Hill, the son of Judas Priest basist Ian Hill). 
 
What's the deal with Judas Priest influence on rock star daughters??

Since 2010, Toni-Marie Iommi  is engaged to Mikko "Linde" Lindström, the guitarist of Finnish rock band HIM - Lindestrom notably played guitars with his father in law (and the super group WhoCares) on the song "Out of My Mind". 




Gillian Glover

If you are a Deep Purple fan, then you would recognize Gillian Glover quickly. She is the daughter of the legendary Roger Glover. She also sang a couple of songs on her father’s solo albums, Snapshot and If Life Was Easy.

Apart from her music writing and singing skills, she a professional scuba diving master and jewellery designer of recycled guitar strings. 

Started singing when she was 22 years old, but joined her first band Beat:Root in 2001.  She also recorded her first solo album called Red Hand in 2005. After that she joined her current band Human Beans, and in early 2011 released Still Life With Music.  The band is based and perform mainly in London.

Gillian Glover and her band bass player, Travis are partners and in 2009 had a son.

Jon Lord, You Will Be Greatly Missed

The first time I heard Jon Lord was when I listened to songs from Deep Purple's "Made in Europe", such as Burn or You Fool No One. The second time was when I heard "Deepest Purple" album. Since then, DP became an integral part of my life.

This is not a post to talk about the history of Deep Purple as one of the three main pillars holding Rock & Metal music structure (the other two are Black Sabbath and Led Zeppelin, of course).

This post is about what Jon Lord means to me since I was a kid to this day.

The first time I saw Jon Lord on video was many and many years ago. I used to live in Iraq, and back then there were small numbers of communities from different neighborhoods in Baghdad who shared passion for rock and metal.  The knew which record shop to meet and welcome new comers, and they knew which record shop is the most resourceful with latest news and stories about their favorite bands.
I was one of those guys.

Back to that video tape. I borrowed it from a friend whom I would love to talk about one day on this blog (and whom I wish he is still doing well).

By the way, that friend I am talking about is considered as one of the few ultimate sources of rock and metal music in whole Iraq during these days.
The video tape was of Deep Purple playing California Jam concert from 1974.

Seeing Jon Lord playing Hammond organ - an instrument I am used to see and hear only in churches, it made me speechless. This was the first time I see such an instrument being recruited that way in music: melting Hammond organ sound in a heavy rock band music.

I thought this was his only trademark. I was wrong, because the creativity Jon Lord had in music exceeded that of being a professional rock star, because years later I learned that he already did something more advanced than any other musician in modern music history could made: he is the one who made the perfect marriage between classical music and rock come true. This was in the form of the Concerto for Group and Orchestra that came out in 1969.

Being a fan of Jon Lord became an integral part of me. Growing up listening to his work with Deep Purple and Whitesnake, as well as his solo work or with other musicians. It was not only about music, but it filled me in joy reading news about him back then or chatting with dear old friends about his stage performance, for example.

In the mid 1980's, a friend of mine showed me a magazine that was exclusive to Deep Purple family tree news. In Iraq, pop and rock magazines did not exist, and no import of such media source was possible, but that friend got it from a relative from abroad. Two things in particular I will never forget about that particular magazine: the first was seeing for the first time a picture of Glenn Hughes with Black Sabbath (from Seventh Star photo sessions), and reading how David Coverdale describing Jon Lord as being THE STAR and the gentleman out of all musicians he worked with while he was in Deep Purple and Whitesnake.

Jon Lord was one of my role models in life. If I was meant to work as a musician, part of me definitely would have a Jon Lord in it.

When I was in the first year in university I drew a portrait of Jon Lord based on picture from the Perfect Strangers album. I remember doing that during lectures - It didn't mean that I had no interest in those lectures, but making a portrait of Jon Lord was a priority too.

Speaking of Whitesnake, I got a video tape of one of their live concerts. Jon Lord's solo by combining classical, Hammond organ and synth's was mind blowing. Can anyone dispute that the remake of "Crying in the Rain" in 1987 album missed the Jon Lord touch in it compare it to that on "Saint & Sinners"?

The first time I saw Jon Lord live was in 2000 in Ahoy, Rotterdam, during Deep Purple's 30'th anniversary tour of the Concerto for Group and Orchestra. I won't forget his introduction to the concert warning that the concert will start slow and by the end will make us deaf.  It was a sensational, one of the most special moments in my whole entire life.

One of the reasons I keep replaying John Peel's rock family tree on Deep Purple was the way Lord telling the story of this pioneer rock band. On a side note, I still can't believe it, but after all these years, I still enjoy every minute watching that documentary - eyes locked on screen. Don't know if I have to thank the great John Peel for the way this show was made, or is it because of my love of Deep Purple.

To everyone's knowledge, Jon Lord stardom was not only tied to Deep Purple material. Can anyone argue or say anything about Sarabande or Pictured Within, for example?

Even after departing ways with his mates in Deep Purple and focusing on classical music was stunning. The last album I bought was Boom of the Tingling Strings, a sensational album.

I was so thrilled when I read not long ago about Jon Lord was busy in the past months on completing a final studio version of the Concerto, with guest musicians such as Iron Maiden's Bruce Dickinson, guitar Virtuosos Joe Bonamassa and Steve Morse.

No one doubted for a minute about health issues. The news of Jon Lord having cancer was shocking prior to that, but many, including media I read confirmed that Jon was getting better... and the news of recording the concerto in Abbey Road was a sort of confirmation, a relief, in fact. My feeling of comfort and relief for that legendary musician strengthen when I read about tour dates advertised in Germany, until the moment when a friend of mine sent me an email late on that night to tell me that Jon Lord passed away.

That was it for me. I was for days in a state of disbelief.

I felt that music scene has lost something extremely vital to its essence, and this man's work for more than 40 years is a living proof. Jon Lord was unique. He was and will always be a titan among giants in music history. No doubt about that.

Rest in peace, Mr. Lord. You will remain in our heart and souls with what you gave humanity. Your music will remain for eternity.