Things definitely changed when David bought a blow dryer. The change in sound was no doubt largely due to Jon rejoining Purple.Originally Posted by profusion
Things definitely changed when David bought a blow dryer. The change in sound was no doubt largely due to Jon rejoining Purple.
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
Interesting that the S&S era and Foreigner have been discussed together, here, because that album and F's 4 were two of the key albums on my hardrock playlist mid-80s as approx a 15 year old when I simply was mainly enjoying the music on those albums w/o even following the lyrics close enough. And yes, 35 years later, listening again, the nature of those lyrics become a lot clearer (!), yikes, and I'm not even talking about that Whitesnake album because I haven't heard it since then. But 4's lyrics are okay, not as "you know…" as Coverdale's, and in fact, that goes for probably only half of 4's songs anyway (Night Life etc), the other half were family-friendly iirc (I've Been Waiting, Girl on the Moon, etc). I do remember that S&S was a standout album and I would still listen to that at times — and the same goes for 4.
I think Lord dropping opting out in favor the Purple reunion wasn't as significant as the following factors:
1. Bernie Marsden dropping out (though ironically, he actually co-wrote Here I Go Again)
2. Mickey Moody dropping out
3. Whitesnake switching to Geffen Records
4. David being determined (or maybe it was David Geffen who was determined) to "crack America".
That combination had more to do with the change in the band's sound, I think.
5. Everybody was jumping on the hair metal bandwagon. Including the old guard like Aerosmith, Alice Cooper, KISS, et cetera, et cetera. That's where the fame and fortune was.
During the Joe Lynn Turner era, Rainbow was derided for sounding too much like Foreigner. To which Blackmood said "Tough!"
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
Glam metal would have been fine. I liked a lot of the glam metal stuff, and still enjoy it to this day. But around 86-87, the hairspray fumes started going to everyone's heads. Course, when you've got a Sith Lord like Derek Shulman for your A&R person, that's gonna cause problems.
Joe said when he joined the band, his mission from Ritchie was "Help me get this band on the radio" (and I imagine he probably gave a similar missions statement to Graham Bonnett also). Probably the same reason Roger Glover was brought in, also (remember that Ritchie was the reason Roger got sacked from Deep Purple).
During the Joe Lynn Turner era, Rainbow was derided for sounding too much like Foreigner. To which Blackmood said "Tough!"
Great artistic vision.
Was Blackmore short of cash or something, hence the desperate need for radio play? I imagine the royalties from SOTW would keep him in comfort unless he had a massive substance habit, and he never seemed to embrace that sort of lifestyle unlike some of his contemporaries.Great artistic vision.
It's not always money motivated...sometimes it's attention and recognition.
True but again that never seemed to be his style, unless the moody and withdrawn persona was a big fraud.
Not sure if cowriting one hit song is enough to keep someone in comfort (although he did actually cowrite a few - I remember hearing "Woman From Tokyo" on the radio in the 80's about as often as "Smoke").
Well, I'm sure he's moody and withdrawn, but I bet he's also highly driven and motivated...so if he decided he wanted something, he found a way to get it.
Foreigner could never have done a song like Death Alley Driver, or even Power. I still think SBTE is probably the second best Rainbow album after Rising, but of course it's the one I heard first, with Stranger and LLRNR after that, even though I hate the drums on Stranger.
Carry On My Blood-Ejaculating Son - JKL2000
Tanya o’Callghan good bassist or just a good looking woman?
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Good cover of this song Here I Go Again --- is that a peroxide blonde Peter Gabriel on bass :-)
https://youtu.be/A6oW4CwTAOU
If I'm not mistaken, most of the Deep Purple material is credited to the five of them collectively, at least, during the original MKII era they were. Whether that reflected how the songs were actually written (i.e. the five of them jamming in the rehearsal or recording studio) or if this was another one of those "this way nobody gets upset that somebody's getting more royalties than he is" maneuvers (as Queen did on The Miracle and Innuendo), is anyone's guess.
And I would suspect Blackmore, Glover, Gillan, and Paice (as well Jon Lord's family) live very comfortably from the royalties off Smoke On The Water. It's only one of the most iconic songs ever. HP used it in a commercial illustrating how Fender uses "HP technology" to "put guitars in the hands of young musicians" (you may recall the ad, it was a bunch of bits of kids, learning to play Smoke On The Water, apparently as their first song). Roger Glover once noted, every music store you go into, there's a sign that says "No Stairway To Heaven, no Smoke On The Water" (which is why I always play Heat Of The Moment or Owner Of A Lonely Heart when I'm trying out distortion pedals). It's probably played at least once, every day, on the radio, somewhere in the world.
(something I just learned: did you know Jon Lord and Ian Paice were brothers-in-law? Their wives were twins!)
When Purple reformed in 84, there was a rumor floating around a major reason was since all 5 were credited, all 5 collectively would have to sue Rod Evans. For his late 70s "Deep Purple" tour, performing mostly Mark II material. All 5 also own(ed) the publishing for the songs. Not sure if there was any truth to that rumor.
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
I've never heard any details about who exactly sued Rod Evans. I just remembering hearing that to avoid having his ass handed to him, he had to give up his royalties, so he sees no money from Deep Purple AT ALL, not even from whatever sales the first three albums still generate. One would presume, since Paicey and Lord were the two band members who stayed in the group through the whole time, they were involved in it, as I imagine they were the ones who owned the trademark on the name, but I don't really know. It could have been a manager who owned the band name, or whatever. I really have no idea.
But I heard a lot of stories about the Deep Purple reunion over the years. One story had it that they were negotiating the terms of the reunion, even as the individual band members were plugging away at what they were doing (Blackmore and Glover in Rainbow, Gillan in Black Sabbath, Lord in Whitesnake, and Paicey in Gary Moore's band). So it would seem that they were already doing these projects, apparently with the knowledge (or hope) that they were going to be just temporary things, until they could the reunion legalities worked out.
If we are talking about family relations in groups, Rinus Gerritsen and George Kooymans from Golden Earring are brothers in law. George is married to a sister of Rinus Gerritsen.
I mentioned to you in another thread Blackmore asked Gillan not to perform Smoke on the Water with Sabbath. Blackmore in kind stopped performing it with Rainbow.
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
In Gillan's case, I believe he was already negotiating on the Purple reunion before he joined Sabbath. He's said he saw it as something to do while he waited for the Purple negotiations to finish. That, of course, is not what he was saying back in the day!
Well, of course he wasn't saying it back in the day! I mean, you're not going to do an interview and say "Oh, I'm just singing with this band while I wait for my old band to get back together". He probably figured he'd make more money with Sabbath than he would if he did another solo album or whatever.
It is an interesting thing, though, if there was already behind the scenes talk of Purple getting back together, as early as late 82, it suggests everything else the other four did was just "biding their time" until the negotiations were hammered out, as well. Ritchie may have already known that Bent Out Of Shape was going to be the last Rainbow album (probably), and David Coverdale says in the Slide It In liner notes that he knew for six months beforehand that Lord was leaving the band.
On the other hand, in the Heavy Metal Pioneers documentary from around the time of that record Deep Purple did with Joe Lynn Turner singing, Lord makes it sound like he quit Whitesnake because he was tired of touring, then he got the call about the Deep Purple reunion. Lord says he told their manager or whoever it was, "Ritchie will never agree to it!", and whoever it was he was talking to said, "Actually, it was his idea!".
It's just as well. Gillan's voice took more abuse in Sabbath than any other band. Had he never been a member of Sabbath, Purple may still be able to perform Child in Time to this day.
I just remembered an anecdote: in 84 right after Perfect Strangers came out, I was visiting my parents. We went to a pizza parlor, where some kids were playing their boom box at another table. Knocking at Your Back Door came on the radio. One of the kids said, "This is Black Sabbath's latest."
Last edited by progmatist; 08-21-2023 at 12:09 PM.
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
Gillan in one interview says he went out for a drink with Tony Iommi and when he woke/sobered up he found he'd joined Sabbath.
That sounds like the story I heard about how Clapton ended up touring with Roger Waters. Apparently, Eric was in a somewhat inebriated state with Roger asked, and said yes before he thought about what Gilmour (who's a friend of his) would think.
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