“Black Dog Barking” is album number three, released in May 2013 via Roadrunner Records.
By now, everyone knew that Airbourne sounds like AC/DC.
But on this album, they amped up the AC/DC sounds with a bit of 80s rock like Cinderella and the first two albums from Def Leppard along with some Euro Metal like Scorpions.
And those backing vocals.
The Personnel for the album is Joel O’Keeffe on Vocals and Lead Guitar, David Roads on Rhythm Guitar, Justin Street on ass and Ryan O’Keeffe on Drums.
Producer Brian Howes has worked on the slick productions with Nickelback and Puddle Of Mudd, but on this album he captures the energy of the band performing live.
Ready to Rock
The blast out of the gate with it. It’s loud, aggressive and it feels like a circle pit punch up in a pub.
Animalize
I think of Kiss and Paul Stanley singing this tune.
No One Fits Me (Better Than You)
A take on “Let Me Put My Love Into You”.
Back in the Game
This one is the best song, bringing that Acca Rock and Euro/80s Rock vibe. There are Whitesnake, Cinderella, AC/DC and Scorpions influences.
Firepower
This one reminds me of “Let It Go” from Def Leppard in the verses and I like it.
Live It Up
The whole Intro is Acca Dacca with that open string acting as a pedal point while a melodic riff is played on the other notes. Think of the Intro to “For Those About To Rock”.
Woman Like That
This could be on a Bon Jovi album or a Cinderella album and not be out of place.
Hungry
Another favorite, which borders on speed rock.
More WASP like and it has a cool Spanish like guitar lead,
Cradle to the Grave
Crank it and enjoy. While the verses are stock standard hard rock, the Chorus has some of that Euro arpeggios.
Black Dog Barking
It closes with the barking and aggressive title track.
Airbourne does what they’re good at, the same way that AC/DC does what they’re good at.
Its better produced and the songwriting is concise, as the album is done in under 38 minutes.
This is rock’n’roll, the way it should be. Loud, aggressive, dumb and no ballads.
And Joel O’Keeffe gets a lot of credit for his vocal chops, i also believe that his Lead Guitar playing should also get some notice.
When a band loses members, no one really knows what would come next. Will the band break up or will they continue with new members?
When bands lose their lead singers, the uncertainty is even higher.
But when Deep Purple lost Ian Gillan and Roger Glover, Richie Blackmore stepped up even more to push the band forward. As far as Blackmore was concerned, he was the driving force behind the band and this grit and determination would lead him to find not one but two vocalists who would assist him in moving forward with the massive riffs he was coming up with.
“Burn” is the eighth studio album, released in February 1974, and the first to feature an unknown David Coverdale on vocals and Glenn Hughes, from Trapeze, on bass and vocals.
The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio.
Deep Purple MK3 is Ritchie Blackmore on Guitars, David Coverdale on Vocals, Glenn Hughes on Bass and Vocals, Jon Lord on Keyboards and Ian Paice on Drums.
Production was still listed with the band as Producers and Mixers (but all they had to do was just say yes or no to the takes and mixes), with Martin Birch doing the bulk of the work capturing the sounds and actually mixing the album.
Burn
It owes some of its thought and structure to “Highway Star” as the DP guys wanted to have another high energy song to open the show and new album with.
It also has structured organ and guitar solos like “Highway Star”, around Bach like sequences which Lord and Blackmore worked out.
Coverdale mentioned in the “The Purple Album Track By Track”, that “Burn” was the first song that he started working on with Richie Blackmore, which he called sounded like “Symphonic Rock”. He also wrote four different lyrical versions for the song, with the Sci Fi version being selected by the guys in the band as the one to use.
David Coverdale loved the riff so much, that “Children Of The Night” from the 1987 self-titled album was the result. I would add that part of “You’re Gonna Break My Heart Again” also has some of the “Burn” feel.
And as good as all of the riffs and solos are, Ian Paice behind the kit, just brings the power and the pace. As soon as his drums come in, the foot is tapping and the head is moving.
It’s my favourite Deep Purple song which gets performed at Whitesnake or Glenn Hughes or Yngwie Malmsteen concerts instead of Deep Purple concerts because of the singers.
Might Just Take Your Life
The Jon Lord organ riff to start it off is from “Woman From Tokyo”.
Jon Lord was the primary writer for Deep Purple on the first couple of albums until Richie Blackmore had enough and started to become the primary songwriter from “In Rock”.
The melodies came from a relaxed jam session that Coverdale and Lord were having.
Overall it’s got that British blues rock feel.
But press play to hear Coverdale and Hughes harmonize in the Chorus.
Lay Down, Stay Down
It’s got that blues rock feel from the “Who Do We Think We Are” album and that sound and riff is something that Blackmore would come back to with his Rainbow project.
Ian Paice again showcases his drumming abilities.
Sail Away
Its got that “Superstition” and “Play That Funky Music” funk rock groove that Blackmore came up with.
Its sung by both Coverdale and Hughes however both could have done the song justice if only one of em just sang it.
This song and “Mistreated” sums up what Coverdale brought to the Purple sound on this album.
Press play to listen to the funky bass playing from Glen Hughes. Hughes was also a co-writer, but he wasn’t credited due to being tied to another recording contract at the time.
The 30th Anniversary release fixed that.
You Fool No One
Coverdale and Hughes doing dual harmonies.
Ian Paice also showing his love of John Bonham and coming up with a definitive drum groove which formed the basis of the track for Blackmore to build on.
The middle solo section is almost Jazz Rock fusion, progressive like.
Press play and just enjoy.
What’s Goin’ On Here
A fun blues song based around a Jimi Hendrix song called “Highway Chile”.
Mistreated
It’s listed as being written by Blackmore and Coverdale.
Coverdale (who calls himself a “Domestic Guitar Hero) wrote a riff on Blackmore’s White Strat, in the Crypts of a Castle they were rehearsing at and when Blackmore heard it, instead of playing the riff with the Coverdale chords, Blackmore played the single notes.
And “Mistreated” was born.
And that opening vocal “I’ve been mistreated” is iconic.
This version is my go to version but on the Purple album from Whitesnake, Reb Beach takes the solo spotlight and creates a fresh and emotive blues shred lead.
‘A’ 200
An instrumental.
Coronarias Redig
It’s a B-side and if no one had heard it in the 70s, it appeared on the “30th Anniversary Edition” as a bonus track.
It’s a blues Rock song but those Hammond Organ chords give it a soul gospel feel.
And press play to hear Blackmore’s leads.
In Australia, the M3 version of DP went to number 5 on the charts. In Austria, Denmark, Germany and Norway it went to number 1. In Canada, Holland, Finland, France, UK and US it was a Top 10 album.
The problems began with a project tentatively titled “Tall”. This project was being produced by Chris Robinson, which his brother Rich objected to. And as brothers do, they got into a huge fight.
The reason for the fight was that Chris wanted to strip back the sound of the Black Crowes. More horns and percussion and less guitars. But his bro, Rich is the guitarist.
In the end, Rich won the argument and the result of this project are the re-recorded songs that Rich Robinson predominantly wrote, which made up the “Amorica” album. This pissed Chris off as his songs were ignored.
So it’s no surprise that during the “Amorica or Bust” Tour of 1995, the relationships within The Black Crowes soured even further, and the Robinson brothers basically hated each other.
But they made it through somehow.
And the band began planning their fourth album in 1995. “Three Snakes and One Charm” was eventually released in July 1996. Recorded in a house that they shared together, the album captures a relaxed band, ready to plug in and jam with friends.
The Black Crowes for this album are Chris Robinson on Vocals, Rich Robinson on Guitar, Marc Ford on Guitar, Johnny Colt on Bass, Steve Gorman on Drums and Eddie Harsch on Keyboards.
The Dirty Dozen horn group appears, along with banjo players, pedal steel players and various backing vocalists. Basically some of the stuff that Chris Robinson wanted to implement earlier was being brought in.
Under A Mountain
I like the exotic Zep vibe on this.
Good Friday
I disliked this song when I first heard it and when I covered The Black Crowes in The Record Vault post a while ago, I ignored it, but goddamn, time passes, moods change and suddenly the Country Soul Rock vibe of the song is hooking me in.
Nebekanezer
If the title doesn’t capture me, I’ve already formed a bias against the song. And while the song has a sludgy Blues groove with a little bit of a Beatles influence in the vocals, there isn’t enough meat to satisfy.
One Mirror Too Many
The Yardbirds, The Rolling Stones and the psychedelic 60’s and 70’s are re-incarnated into this song.
Blackberry
Soul Rock was big around this time in Australia because of the movie “The Commitments” which came out in 1991.
Girl From A Pawnshop
It was my favourite track when I first heard the album and it still is today.
The whole country ballad rock vibe just connected with me and the vocal delivery from Chris Robinson is excellent.
Only Halfway To Everywhere
With the horns, guest vocalists and Chris Robinson bordering between BB King and Steven Tyler vocally, this song feels like a group of musos getting together and having a jam session, with a lot of booze flowing.
Bring On, Bring On
Like other songs on this album, it’s the Led Zep acoustic influence which shines through on this track that hooks me in.
How Much For Your Wings?
The reddest of lights shine on you, young man, let God be with you..
And the acoustic guitars start and there is something about the vocals when Chris Robinson sings, “how much for your wings?” that captures me.
Let Me Share The Ride
A blues groove, but the horns give it that soul rhythm and blues feel.
Better When You’re Not Alone
More acoustic guitars and then the band kicks in. And I feel like I’m driving on the open road out of my town, hopeful and excited.
Evil Eye
It’s too psychedelic for me.
And they went on tour for this album, which took em towards the end of 1997. After this, the band got together and recorded another album with the working title of “Band”.
Which was also scrapped.
Guitarist Marc Ford was fired and bassist Johnny Colt subsequently left the group, dissolving the Crowes’ line-up of the previous three albums.
The unreleased tracks from the “Tall” and “Band” sessions surfaced among tape trading circles and were later officially released on the 2006 compilation “The Lost Crowes”.
The success of “Hush” in 1968 was more luck than anything. After that they struggled while Richie Blackmore kept evolving the band and the sound. Once the MKII version was in place, things started to change.
“In Rock” was released in 1970 and it definitely got people really interested. “Fireball” came quickly in 1971 and is often overlooked, but it kept the momentum going. “Machine Head” broke the band to a bigger audience in 1972 and in order to capture that success, the label released a live album called “Made In Japan” in December 1972.
Four albums in three years.
And then at the height of their fame, they dropped “Who Do We Think We Are” in 1973, their seventh studio album overall and fifth album in four years.
It would also be Deep Purple’s last album with singer Ian Gillan and bassist Roger Glover until 1984’s “Perfect Strangers”.
Fame is definitely a funny thing. You bust your ass to get there and then break up once you there.
Because of the touring, the album was recorded in two stages.
In July, 1972, they had some time in Rome to write and record new songs via the Rolling Stones Mobile Studio. The songs from these sessions that are known are “Woman From Tokyo” and an outtake known as “Painted Horse”.
In October, 1972, they had some time to do the same in Frankfurt, West Germany. This is where the remainder of the songs were completed.
Woman From Tokyo
It was the first track recorded in July, written about their life on the road and touring Japan for the first time. It’s also their best track from this album.
As soon as the drum groove started I was thinking of “Run To The Hills” from Maiden.
Mary Long
Ian Gillan combined the names of two people who represented things he hated in the prudish older generation of the time, which made him question how they even had sex.
How did you lose your virginity Mary Long?
It feels like a Lynyrd Skynyrd cut. But this is Deep Purple, the masters of speed, heavy and melodic rock, with a flourish of blues.
Super Trouper
It’s almost like early AOR blues rock, something that bands like Foreigner and Survivor would use on their earlier albums.
It’s short but it gets me interested.
Smooth Dancer
The comparison to “Speed King” was always going to happen.
And Jon Lord owns this track with his honky tonk piano and neo-classical Hammond organ solos.
Rat Bat Blue
I like the blues rock riff that starts this song off. A young Jake E Lee, would have been woodshedding this riff, ready to unleash it with Badlands.
Then the keyboard solo kicks in, over another groovy riff by Blackmore and suddenly power metal is born in Finland.
Place in Line
ZZ Top comes to mind here. It’s got that Texan strut, which is a bit different to the way the Brits did the blues.
Our Lady
It reminds me of The Beatles and I like it.
Actually it reminds me of the song “The Real Thing” from Russel Morris who was an Australian artist from the mid 60’s. The song was a hit in Australia and the U.S and it’s got that Beatles influence.
Painted Horse
This track was released on the Anniversary edition.
Blackmore would also use the riff from this for “Man On The Silver Mountain” with some minor tweaks.
Musically, it was a move to a more blues-based sound, and the album was criticized for its American sounding songs in the U.K, for “Super Trouper” and “Smooth Dancer”.
And when Gillan and Glover left, everyone thought the band was done. But not Richie Blackmore. He had other ideas and MK3 was about to be born.
This version would release two of my favorite albums would be released.
And the labels are up in arms because this new Bill which would change the way artists get paid in the UK.
The bill proposes the payments to artists from streaming should bypass the label system entirely, and be paid to the performers directly via a collection society.
And the reason why the Government is proposing this bill is because of an enquiry they did.
The enquiry looked at the dollar value of streaming payments paid to the labels and then how much of those monies end up being paid to the artists. And it was found that the labels are to blame for the lack of payments to artists.
The labels hate it and are bringing out the big phrases like “recipe to disaster” and that the Bill would make the payments even smaller. And my favorite one is how the Bill would be a damaging step backwards for the UK music industry.
The Bill even cares for the DIY artists who don’t have a label. It’s well thought out and actually looks like a benefit to artists.
It’s no surprise that the labels are against the creators of music of being paid properly because that would change the power structure in negotiations.
The MP behind the Bill sees it very differently compared to the Labels.
“These reforms would lead to more new music, the revival of recording studios, a boost to the UK session music scene, the unearthing of a new generation of British talent, and Britain becoming once again a world-leading cultural hub for the recorded music industry.”
And it has other changes to copyright law; the main one being the right to revoke any Licence agreement after 20 years and reclaim their rights.
To put it simply, the creator or songwriter will be able to get their rights back after 20 years.
The labels would fight this “reclaim right” tooth and nail. They already are in the US, which has a copyright reclaim right after 35 years, claiming those works are “works for hire” which the labels commissioned.
I say bullshit to that claim from the labels but hey the lawyers and the courts love these kind of cases.
Anyway let’s see how this pans out.
The Bill needs to pass a few houses before it becomes law but it does look like the Brits are leading the way to give back some control back to the artists who actually create the content,
The late 90’s and early 2000’s was a time of pushing the limits of heavy metal music. From when I first came across metal albums in the 80’s, the genre had evolved so much that the bands classed as metal back then became totally unrecognisable to the new breed of bands doing the rounds.
Bands like Tool, Dream Theater, NIN, Ministry, Faith No More, Limp Bizkit, Fear Factory, Korn, Creed, Disturbed, Slipknot, Mudvayne, Machine Head and Pantera pushed the genre forward during this period. Each act bringing into their sound something that wasn’t there before. Suddenly Metallica sounded like a pop band compared to these bands.
And then I came across Ill Nino. A fusion of Latin Flamenco rhythms and percussion with metal riffs and singing which moved between aggressive screaming and melodic singing.
On September 18, 2001, Ill Niño released their debut album, “Revolution Revolución”.
The album was a commercial success for Roadrunner Records, moving over 350,000 albums worldwide in the first two years after release.
The Personnel for the album is Cristian Machado on Vocals and Samples, Jardel Martins Paisante and Marc Rizzo on Guitar, Lazaro Pina on Bass, Dave Chavarri on Drums and Samples and Roger Vasquez on Percussion.
And seeing a person called DJ Skratch on Turntables as an additional musician will either scare people off or make them curious.
God Save Us
It’s like Groove Nu-Metal. Vocally its aggressive in the verses, with a melodic Chorus.
Check out the flamenco like interlude at 2.30.
If You Still Hate Me
It’s like Industrial Nu-Metal at the start.
But at the 2 minute mark a flamenco metal section appears and then a head banging circle pit riff afterwards. The movement between styles is why this album got my attention.
Unreal
Distorted guitars and Latin percussion working to create something unique.
Nothing’s Clear
Screaming verses and a melodic Chorus. The duality of modern American metal at the start of the new century.
And chuck in a Bridge delivered in Spanish.
What Comes Around
The most catchiest song on the album. A Nu-Metal riff kicks it off, and then an atmospheric Korn like guitar riff in the verses, while the melodic singing carries the vocal melody.
Liar
The flamenco and percussion in the intro gives way to a Disturbed meets Limp Bizkit riff.
Rumba
The Latin percussion and distorted guitars is a delightful mash up. Vocally, the screaming loses me and the melodic singing re-captures my interest.
Predisposed
I like the Intro riff on this. Its head banging groove metal.
I Am Loco
Who isn’t loco these days?
No Murder
Press play to hear one guitar play a riff on the higher registers while another plays chords.
Rip Out Your Eyes
So much violence.
Revolution/Revolución
The intro riff is head banging heavy.
With You
It’s a flamenco acoustic rock cut. Santana is not the only musician that plays this style, but he is one of the biggest crossover artists, and because of that, this song reminds me of Santana.
The next album “Confession” is a lot more melodic and my favourite but if you want to start with something, then start with this.
If you look at the Wikipedia page for Zoltan Bathory, the earliest musical output you get is from 2004, where he played bass in the band “U.P.O”. However his story begins a long time before that, in communist Hungary.
He was basically trying to succeed in a genre that didn’t have a voice in communist Hungary.
So he comes to America.
And the first FFDP album was recorded by the band. They produced it and paid for it.
My drive home from work at that time consisted of the following songs;
“Shepherd Of Fire” – Avenged Sevenfold “Lift Me Up” – Five Finger Death Punch “Mist” – Protest The Hero “Live In Love” – Times of Grace “Fallen” – Volbeat “Bulletproof” – Evans Blue “Be Still and Know” – Machine Head
And all of the above songs can be traced back to other songs.
Here are some examples;
“Shepherd Of Fire” – the influence of Megadeth’s “Trust” and Metallica’s “Enter Sandman” are unmistakable.
Of course “Enter Sandman” had its main riff come from a band called Excel and a 1989 song called “Tapping Into The Emotional Void.” Megadeth’s “Trust” intro was also inspired by the Pittsburgh Penguins’ entrance theme “The Boys of Winter.”
“Lift Me Up” – the vocal melody influence is from “The Ultimate Sin” is very similar.
And then the post morphed into a Bad Company review.
“Hi Fi Way” is the second album by Australian rock band You Am I, released in 1995.
Wikipedia tells me that “Hi Fi Way” reached #1 on the local albums chart and is one of the most influential and critically acclaimed Australian albums of the 1990s.
I remember this album being released and I also remember not being too enthralled by the singles at the time.
Coming off a decade plus diet of 80s hard rock, I was a bit destroyed when the labels started abandoning the genre in favour of grunge acts. So I went into a deep dive into the 70s. And that deep 70s dive became the reason why I ignored You Am I.
Main songwriter Tim Rogers later said that he was really high and drunk the whole time. And he wanted the album to sound huge but with the way that he sings and plays guitar it ended up sounding scrappier than he intended.
They had had seven days to make it, while living in New York.
The band is Tim Rogers on Vocals, Guitar, Mellotron, Hammond organ, Andy Kent on Bass and Rusty Hopkinson on Drums.
Lee Ranaldo from Sonic Youth is Producing. Stylistically it’s like punk and grunge.
Ain’t Gone And Open
It’s like a garage jam.
Minor Byrd
It’s a skip for me.
She Digs Her
Remember the lyrical theme from “Same Ol Situation” from the Crue.
A guy falls for a girl who is into girls and the guy is still thinking that’s okay, maybe he’ll get a threesome out of this.
Well, if you listen to the song; that also didn’t happen.
Cathy’s Clown
It’s almost like The Easybeats meets Radiohead meets The Who.
Jewels and Bullets
It’s a punk pop song and I like it.
There’s a drink you can drown in Choose a blanket to die in
When you’re out on the streets only a few things matter.
Purple Sneakers
Folk Rock.
Found out what shame can mean In purple sneakers and grey jeans
Yep to some people this look wouldn’t cut it and they’ll do their best to let the person know.
Pizza Guy
Grunge like.
Grab a six pack for the way home
Who doesn’t?
It’s a rite of passage. Well it used to be.
The Applecross Wing Commander
It’s got this Blue Oyster Cult and Free 70s vibe.
And although I have no idea what the song is about, the groove and attitude of the song grabs me.
Stray
I like the Soul Bluesy Intro on this.
The Vines would build a career playing songs like this.
Handwasher
It’s got this Hunters And Collectors vibe.
Wash my hands in shame 4000 times a day And when I make it on home There’s a smell that always stays
Sometimes the stain never comes out. When I used to be a fitter and machinist the grease was in the skin.
Punkarella
It’s high energy.
Coffee teeth and a cigarette heart for sale
Great lyrics.
Ken (The Mother Nature’s Son)
You’ve lived on beans and rice And fell for Jesus Christ
Everyone is looking for some place to belong.
Gray
It’s a skip.
How Much Is Enough
It’s melancholic. My favorite song.
In the morning When you’ve wiped his taste away The last of the red and all the records you played How much is enough?
Sometimes it’s enough for a few hours and then the night repeats.
There’s a review at Sputnik Music which summarizes the album as “The backyard gig, captured on CD”.
And I agree.
The album is mentioned by members of Jet and Wolfmother as an influence. And for a little while it looked like You Am I was going to break into the US, but that that never came.
It was “The Heart Of Everything” album released in 2007 that made me a fan especially the song “What Have You Done”. And I wanted to hear more.
“Mother Earth” is the second studio album released on 24 December 2000 in the Netherlands, and 21 August 2001 in other parts of Europe.
It was a sleeper hit in Holland, reaching the number 3 spot, two years after it’s release and in the backs of the second single “Ice Queen”.
Wikipedia tells me how the band was enthralled by a movie at that time called “Braveheart” and the Celtic influences are very evident.
The band is Sharon den Adel on vocals, Robert Westerholt on rhythm guitar and vocals on “Mother Earth” and spoken words on “The Promise”. Michiel Papenhove is on lead guitar, Jeroen van Veen on bass, Martijn Westerholt on keyboards and Ivar de Graaf on drums.
Mother Earth
It’s soundtrack music. Medieval like “Braveheart”.
Ice Queen
It’s a hard rock song, with the symphonic elements. Vocally Sharon den Adel is very Kate Bush like and early Pat Benatar.
Our Farewell
It’s a piano piece. Evanescence would become famous on their “My Immortal” ballad, but Within Temptation was doing it earlier.
Caged
The start reminds me of “The Last Samurai”.
The Promise
When the distorted guitar riff kicks in with the Symphony, I am reminded of S&M from Metallica.
Never-ending Story
A piano riff that keeps reminding me of movies.
Deceiver of Fools
The symphonic choir starts it off. When the vocals come in, they are operatic.
But Press play on this to hear how the guitars kick in at the 2 minute mark. Powerful and emotive.
Intro
It’s like a horror/thriller soundtrack.
Dark Wings
This song is excellent. A mixture of progressive Metal with the symphonic
Arjen Lucassen from Ayreon plays the guitar solo.
But press play to hear Sharon den Adel do these exotic like ohs and ahs vocals between 1.50 and 2.20.
In Perfect Harmony
The song is in a Major key so it has that happy vibe to end the album. You know those end scenes in movies when the goodies have won and the end credits roll.
By the end of it, I felt like I was at the movies. The music is cinematic and grand.
And the rise was starting. Austria, Belgium, Holland, German, Norway and Switzerland were on board. This is how artists did it. A few places at a time.
In relation to certifications, the album was certified Platinum in Holland and Gold in Belgium and Germany.
“Machine Head” is the sixth studio album released on 25 March 1972 on Purple Records.
The success of this album didn’t just happen. The band had been touring and recording in between live shows since 1969. Any new song they wrote would get debuted live before it was recorded.
But the band felt that these earlier studio albums did not sound as good as their live performances, and wanted to record in a stage environment.
As legend would have it, Deep Purple planned to record the “Machine Head” album at Montreux Casino in Switzerland during December 1971. But some “stupid with a flare gun burned the whole place to the ground”.
Deep Purple relocated to another hotel called “The Pavilion” however the neighbors kept calling the police over the noise and Deep Purple got evicted. The basic tracks to “Smoke On The Water” were recorded here.
They searched for other recording locations and settled with the empty Grand Hotel, on the edge of Montreux.
The band for the album is the classic line up of Ritchie Blackmore on guitar, Ian Gillan on vocals, Roger Glover on bass, Jon Lord on keyboards, Hammond organ and Ian Paice on drums.
The album is listed as being produced by Deep Purple with Martin Birch doing the engineering and the mixing with Deep Purple.
Highway Star
It’s a speed Metal song before it became a thing.
Written on the bus while touring. Management arranged for the band to travel to the gig with a group of music journalists who could interview the band at their leisure.
One of them asked Blackmore how he wrote songs and the opening riff was the result. The rest of the band completed the arrangement during rehearsals and it was added to the show on the evening of the gig.
Blackmore based his guitar solo around a figure that he learned from rockabilly artists Johnny Burnette who was active between 1952 and 1964 when he drowned.
Maybe I”m A Leo
I like the blues rock riff on this which Glover wrote the song’s main riff after listening to John Lennon’s “How Do You Sleep?” Hell it could have been based on “Come Together” which was based on a Chuck Berry song.
It had a working title of “One Just Before Midnight”, which appears in a picture of a recording sheet on the album sleeve.
Pictures of Home
Montreux had become their home away from home and this song covers that period.
A fast drum solo Intro starts it off before the band crashes in. The major key pentatonic soloing reminds me of Thin Lizzy before Thin Lizzy became famous.
Never Before
I love the blues when it’s done right. And on this track Deep Purple nail it.
This style of blues rock would form the foundation of the Rainbow sound.
Smoke On The Water
The opening riff and the whole build up with the drums and then bass.
That’s why you press play on this.
Lazy
It was played live in 1971. Glover said the song was roughly based on an Oscar Brown song, “Sleepy”, while Blackmore stated it was inspired by Eric Clapton’s “Stepping Out”.
Either way, it’s how music is created.
Take our influences and create something new.
The song was designed for the live show with each instrument having a break to showcase the talents of the player. Even Ian Gillan got a harmonica spot.
Space Truckin’
“So come on”.
And the rest is history. Nonsense lyrics or not it’s a classic Deep Purple jam.
When A Blind Man Cries
No one called these kind of songs ballads back in the day. It was just a slower rock song.
Listen to the little leads and the lead break itself. So much emotion. Blackmore doesn’t get enough credit for being a great blues player.
In Australia it went to number 1, along with other countries like Denmark, France, West Germany as it was known back then, the UK and Holland.
Certifications will be viewed in the future as a small memory of the music business, the way the piano player is forgotten and vaudeville productions. Once upon a time they ruled. What happened to em?
But when people talk about this album, they talk about it’s 2x Platinum certification in the US and it’s Gold certifications in France, Italy, Japan and the UK.
