Posts Tagged ‘deep purple’


August 28, 2020

Greg Tarlinton has added this to the current batch of DP magazine covers, over in Australia. Steve chats about the recording of the new album and how he used to build guitars! Cover date June 2020.

Greg also adds that the magazine web site has a number of DP features dotted around their website if you can navigate around the pages. He’s done us a helpful list, hope all the links work properly (the software people have messed with the options so struggling a bit!):


August 24, 2020

Simon spotted Deep Purple in his local Sainbury’s chart rack at number 10, bravely doing battle with a cheapo Doris Day Collection at number 9! Meantime, David Browne – who has sort of slipped into the role of charting the rise and rise of Whoosh for us (and future historians!) – says the list of top ten entries has grown over the past week (see below).

#1 Germany

#1 Finland

#1 Belgium (Wallonia)

#1 Scotland

#1 Austria

#1 Switzerland

#2 Poland

#2 Czech Republic

#3 Hungary

#3 Sweden

#3 Norway

#4 UK (highest chart entry in 46 years)

#4 Japan (International)

#6 Italy

#7 Belgium (Flanders)

#7 Netherlands

#8 France

#8 Denmark

#13 Australia

The one which is puzzling him and us is the US Billboard chart. But if you look at what they call their Top Album Sales (which they describe as “a pure album sales chart” and mixes all genres) then Whoosh comes straight in at No. 11 (just below ‘Now 75!’). They will find it tough going as it is one of SIX new entries. As for how it compares with previous reunion albums? Scroll down.

David also thought to look back at reunion album positions in Billboard and this charts a real u-turn now, with positions dropping steadily to Battle, and then creeping back up. He also points out that the last Deep Purple album to get higher than #11 in the US album sales chart was (according to the old DP discography!) : Burn #9, which mimics the position in Britain.

Titles which do not appear didn’t make it into the Top 200 chart at all, so a huge chunk of the catalogue is missing.

Staggers pronounces.

August 19, 2020

“DEEP PURPLE have reached a stage of mastership that is unprecedented in the history of rock music. No doubt, this is a legendary album and will once be counted among the classics of rock music…” KNAC Rock Radio website review. While back in the UK: “How depressing that in their seventies Deep Purple are much, much better at arena rawk than, say, Kasabian…” Yes, even the sad old Spectator Magazine gets all grudging in their praise. So, without wishing to sideline TMS statistician Andy_Zaltzman, here is the current state of play.

Whoosh is now Deep Purple’s highest charting studio album in 46 years… since “Burn” in 1974.

Number 1 Physical Artist Album sales / no: 4 Main Chart
Number 1 Top 100 albums (excepting streaming sales)
Number 1 Independent Album
Number 1 Rock and Metal
Number 1 Scottish Albums (don’t let Nicola know!)

And “Whoosh!” has reached the Top 10 in a 12 countries worldwide – with more apparently to come.

1 Germany
1 Finland
1 Belgium (Wallonia)
1 Scotland

2 Czech Republic

3 Sweden
3 Norway
4 UK (highest chart entry in 46 years)
4 Japan (International)
6 Italy
7 Belgium (Flanders)
7 Netherlands
8 France

Thanks to Adrian Tredinnick their UK publicist for the info, he had this thank-you message off the band:
“Your energy, professionalism and devotion to the cause has been building throughout the ‘Now What’ and ‘Infinite’ campaigns and all that has paid off with this explosion of effort that we have been watching and admiring whilst doing our phoners for the latest album. Who would have thought that – this late in our career – we would have been having such an experience? It is quite incredible.

These large billboards have been turning up on the transit systems across Germany, thanks to Pericle for the snap. Find room in your den for that!

Thanks also to David Browne for his help who tells me the album has just tipped up in the Billboard chart at 161. “Whoosh! is at #20 in the Billboard US Rock charts, behind no less than 13 compilation albums…. The Beatles, Elton John, Queen, The Eagles, Journey etc, and 4 re-releases: including, of course, Rumours.” Reminds me of those far off days when Led Zeppelin were kept off the number one album spot by the Top Of The Pops covers collections!

Factoid time • Amazingly it will be FIFTY YEARS since Deep Purple first got to number one in Germany in October 1970 with you know what. I can’t see sales in this day and age holding out for another eight weeks there but that is still quite a close anniversary.
One album listener has asked “have any other DP devotees experienced an audio ‘glitch’ at 2′ 22″ in ‘Dancing In My Sleep’ on the audiobook version?” I’ve only heard the digital wav files and didn’t notice anything, but do let us know.


August 13, 2020

I appreciate the UK has been rapidly losing it’s status as the European music centre for some time (my most played albums this last couple of years have been Norwegian and German, so I can hardly gripe) but it’s nice to get a reminder of the old days with a headline like this on the Official UK chart stats front page the other day, spotted by Martin Ashberry! It’s not unusual to have Purple topping the rock or metal chart ghettos from time to time, but this one did raise a bit of a cheer. So off to do my bit in the indie record shop as soon as I can, just to see the moaning from all the Swifties out there…

“I simply couldn’t decide which version to get, so in the end I bought all eight!” says Taylor Swift on a shopping trip this week.

Martin Birch. RIP.

August 10, 2020

Or should I say Martin Birchtree, Enginearole, as he was memorably credited on one Machine Head tape reel…

1970 was a cracking year to be let loose in the record shops, seeing how far my pocket money would go. I bought Deep Purple In Rock of course (Engineer on Hard Lovin’ Man? Martin Birch) but did explore other bands, and one of the first singles I picked up was Fleetwood Mac’s Green Manalishi. Engineer? Martin Birch.
A mate at school then brought Thank Christ For The Bomb along to play a track from one day (in form assembly of all places) by The Groundhogs (to be outdone by Split later that year, an astonishing audio experience). Engineer? Martin Birch. Another lad was raving about the track Phoenix by a new band called Wishbone Ash. Engineer? Martin Birch.
And that was just 1970.
What I’m trying to say is that Martin’s name has been on my radar most of my music buying life. And the same happened with the next generation of rock fans as his credit began to appear on a raft of post-Deep Purple projects like Whitesnake, Rainbow and PAL. The following wave of heavy metal again drew on Martin’s skills, in particular Iron Maiden (though by now he was credited as Producer, Engineer, Mixer, Tape Op and Technician!). After which he hung up the earphones in his early 40s and left the business.
Despite that early retirement, the extensive list of studio projects he got through is remarkable when you start to look carefully through it, albeit for many Deep Purple fans it is Machine Head which will be the one he is probably most remembered for. I and a few others have literally been going over every felt pen mark on the album’s tape boxes this last week or so to try and glean the tiniest bit of new information from them for the upcoming biography. Indeed it is with a heavy heart that I will close the file on my laptop where I had begun a list of niggling questions I was hoping to put to him shortly (Derek Lawrence called him up last year on my behalf – they’d kept in touch, explained what we wanted, and got an OK to call, on the proviso to “tell him I’m very unlikely to remember anything very much!”).
The sixth member of Deep Purple? It’s a soubriquet which he certainly deserved thanks to his handling the rest of Deep Purple’s classic era (and in a couple of cases even beyond).
It’s unusual for studio personnel to become as well known as the musicians they work for, but judging from the astonishing coverage Martin Birch’s passing (at just 71) has generated among the papers and news sites today, as well as rock fans, we’re not the only ones for whom his work has resonated so strongly.

Number 5

August 10, 2020

Somebody found a cache of low numbers in HMV Stoke on Friday, and snagged number 5 of their limited edition vinyl release of the album for Mark Maddock! There is also a clear vinyl edition knocking about but we have not been able to confirm a blue pressing heard about in North America, so send us a snap if you have this.


August 5, 2020

Another mag cover for Deep Purple, this is going to go down as a bumper time for front pages. This time it is Rock Candy issue 21 leaning back on a great if now fairly well known vintage Mk 2 group shot for an exclusive chat with IG and IP. Thanks to John Tucker for the info.

In town tonight

July 20, 2020

Deep Purple play one of their first Mk 2 concerts as the famous Mothers Club in Birmingham back in 1969. Tickets just Ten Shillings (or fifty pence in new money). Plus brilliant support band in the shape of Caravan. Read more about this venue and Deep Purple’s shows there on our concert diary page.

Smoke stories

June 29, 2020

Some more new additions to our growing collection of stories with a Smoke On The Water theme on the site.  The store front in this photo is now thought to be a fake but several businesses in America have used the song title to front Cannabis businesses, and it has been used on some outlets, more are illustrated:  Smoke On The Water Stories page 4.  Do let us know of any more such links with the song you come across.

smoke on the water

The sun’s coming out

June 23, 2020

(A day late – and a dollar short! My fault, Ed. This is what Tim Summers remembers…)

35 years since ‘The Return of the Knebworth Fayre’? How did that happen then? Deep Purple Mk 2’s first show in the UK since 1973 was a big, no, HUGE deal – certainly for me, a then 19-year old student living in a shared house in Leeds, still on a fanboy high from the previous year’s reformation. Whilst I’d seen all the members of Mk 2 previously (in Rainbow, Gillan, Whitesnake and Gary Moore’s band), the prospect of seeing THE band all together on one stage had always seemed like an impossible dream – various reformation rumours in the early 80’s having been shot down almost as soon as they’d arisen.

And yet here we were – I returned to my student digs one night after being in the pub (where else?) with some friends from my course to find my rock-loving housemate Alvy (a pseudo-cockney who called everyone ‘barsteads’) raving about a music festival which was to be headlined by Deep Purple and held at Knebworth (‘Where? Oh, that Led Zeppelin place…?’) – he’d already rung up and secured tickets and said that we could stay at his parents’ house in Essex when the time came. Essex is down south somewhere too, so it’s probably close by, right?

Knebworth weekend eventually arrived and I got up early on the Friday for the long coach journey down south – I remember that Radio 1 were (uncharacteristically) playing the Glenn Hughes-sung ‘Dance with the Devil’ from the first ‘Phenomena’ album as I snatched some breakfast. A good sign!


After what seemed like an all-day journey, I arrived at Victoria Coach Station in London, to be met by Alvy (he’d sensibly travelled down by train the day before) and we made our way to his house in Brentwood where his Spanish parents treated me like royalty. For our entire 2 years together at Uni, Alvy had gone on and on about his local beer ‘Ruddles County’, claiming that it was superior to the northern brews I was used to. He and a couple of his mates-from-home watched in anticipation as I tried a pint of the reddish ale in his local boozer that night. “It’s ok”, I proclaimed (it was nice actually, but I wasn’t going to go overboard…).

The next day we got up and after a huge breakfast, began our journey to Hertfordshire. Alvy mentioned that the singer in Bernie Marsden’s Alaska (who were due to open the show), Rob Hawthorne, lived in Brentwood too, and joked that we should go and ask him for a lift to the festival grounds (we didn’t). From memory, I think we caught a local train into London, and then there were special trains laid on to Stevenage (with buses up to the site itself, I think…).

Once there I bought a DP baseball shirt (with a sort of vandalised toilet design on the back) and a programme – and we made our way through the gate and into the showground itself, which seemed to be a h-u-g-e sloping field with a big tree or two, a couple of large mixing desk/lighting(?) structures , and then at the bottom (but raised up), a stage the size of a football field. None of those new-fangled giant screens that the kids today take for granted. We made our way down to a position reasonably close – there were already quite a lot of people there – and waited for the bands to begin (around midday, I think?).


Alaska duly opened proceedings and were…fine. It was good to see Bernie M, but I guess many would have rather seen a more Whitesnakey kind of band. ‘I Really Want to Know’ is still a good song though. Mountain put in a decent performance (I wasn’t familiar with their stuff at all at the time – beyond ‘Nantucket Sleighride’). Mama’s Boys were next – a fine Irish band who somehow never fulfilled their potential – a sort of perennial somewhere-in-the-middle of the festival bill outfit it seemed (I saw them again in ‘86 at Milton Keynes – although thinking about it, they opened the show there – unfulfilled potential). I was looking forward to Blackfoot, having followed them for a little while. Some fans felt they’d recently sold out their southern US rock roots by incorporating ex-Heepster Ken Hensley on keyboards, but I had no complaints at the time. UFO, again I was looking forward to, but again I was probably in a minority by being a fan of their latest – slightly AOR-y – direction. A fight broke out in the crowd just near us whilst they were on – and singer Phil Mogg wore a workman’s yellow hardhat for a bit. ‘Night Run’ sounded good though – and I think we were told to cheer loudly as we were briefly live on Radio 1.

Meatloaf was next. He felt like a slightly odd booking to be honest, and as he lumbered about the sodden stage (did I mention the abysmal weather yet?) with his broken leg in plaster, he was on a hiding to nothing really. Some (traditional) plastic bottles (filled with the customary straw-coloured liquid) were hurled at the stage, and the biggest cheer Mr Loaf got was when he slipped over. The Scorpions followed – Alvy and his mates-from-home were huge fans of theirs – more so than DP – whereas I thought they were just ‘ok’ (genuinely this time). Rightly or wrongly, I think I was slightly more impressed with their ability to form a human pyramid than I was with their music.

But then, but then… as darkness began to fall (proper night-time now, rather than due to black rain clouds) the PA blasted out some of Ritchie’s favourite songs (including Sylvia by Focus, as I recall), the roadies completed the changeover on stage (just the one stage in those days), a Hammond organ coated in plastic sheeting could be spied and then over the PA ‘Tocata and Fugue in D Minor, BWV 565’ blasted out. It might have been written by Bach, but there was no mistaking that this version was being played by Mr Jon Lord, and as the final note of its famous intro rose and sustained, there they were. Together. On stage. Playing ‘Highway Star’. I’m not crying, you’re crying! Just sheer magic to see and hear – nothing else mattered in that moment, not the rain, not the cold, not the mud – oh god, the mud – all forgotten for the next nearly-two hours as Blackmore, Gillan, Glover, Lord and Paice did their thing. ‘The sun’s coming out in about 10 minutes’ joked Ian G at one point (it was properly night-time dark by then). A pleasing mix of the new album and the old Mk 2 classics, played by a band that seemed as happy to be there as we were to see them. And all too soon it was over, with a massive firework display at the finale (one of which went off early – it can happen to us all – causing Rog to point to the heavens as it whizzed over whilst they were still playing).

Random memories – watching as a fan somehow managed to climb up to the skyscraper stage, giving Rog the fright of his life, before being dived on, and escorted away by road crew; seeing Motorhead’s Lemmy trying to free his van from the mud on the way out (looking back, maybe it wasn’t even him); Ian Gillan telling us that we were ‘the greatest audience in the world’; using the makeshift urinal (before DP came on) which had formed between the back of the kebab stall and a fence – as it was too far to walk right to the back of the site to use the official ones – and seeing a drunken guy slide (in slow motion, it seemed) mid-pee, to the muddy, urine-soaked ground, only to be covered up with a sheet of cardboard by his mate (“He’ll be all right”). He’s probably still there; Ian G’s naughty intro to ‘Knocking at Your Backdoor’ (edited out of the radio transmission/official release); taking most of the night to get back to Alvy’s parents’ house on the train(s); waking up the next afternoon to find my favourite boots (which I’d assumed were ruined by the damp and the mud) shining like new, having been tended to by Alvy’s army-trained dad; Ritchie swapping his guitar for Rog’s bass (and vice versa) towards the end of the show; Alvy somehow spotting my mate-from-home, red-headed Dave (who he’d only met once) in the crowd of 70,000 – I returned from a trip to the kebab stall toilets to find, to my amazement, Dave with our little group. Apparently Alvy saw what he thought was him in the distance and just yelled (with a mockney twang) “Dive! Dive! Oi, Dive, ya ginger-haired barstead!” (and then when he turned round “Oh, thank god it IS you!”); Roger standing and saluting during the ‘Land of Hope and Glory’ part of ‘Under the Gun’ (which had been introduced in ‘German’); Laser-wig van Beethoven conducting along during ‘Difficult to Cure’; Ian G starting to sing the wrong verse to ‘Gypsy’s Kiss’ and inventing new lyrics on the spot (t’was ever thus); Ritchie walking across the stage to Jon, shaking his head during the intro to ‘Woman From Tokyo’ (did he think that one of them was playing it wrong?); the ‘Burn’ riff during ‘Speed King’; everyone singing along during ‘Smoke’ (attempting to lift the clouds), as Ian G told us “THIS is the highlight of the tour”; Deep Purple! I’d seen Deep Bluddy Purple!

Seems like yesterday and a lifetime ago. Forever etched in the rosy (and yes, muddy) glow of memory. Tim Summers.

My thanks to Tim. Photos from the show at, our archived site.

Simon’s condensed version is also on there (from DTB Issue 32 nostalgia fans).

He has also jotted his recollections down of preparing the 1991 LP / CD release of the concert for Connoisseur Records on his design site.

knebworth-festival 2