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Post by 4th Chord on Apr 15, 2020 19:40:29 GMT
Heh, I bet even you air guitar in front of the mirror to ‘Still of the Night’. 😁 No I air my organ infront of the mirror to "Hush"   |
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Post by Deleted on Apr 15, 2020 20:47:28 GMT
No I air my organ infront of the mirror to "Hush" Why do you think I'm on wife number three? |
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Post by Deleted on Apr 15, 2020 20:54:57 GMT
I bet Gerh is kicking himself right now. Huh? Why? I genuinely didn't know... 1. that Jon Lord didn't play on it and, 2. I still think it's [at best] awful ['to each his/her own', etc etc]
TC's right - it's, to all intents and purposes, a Rainbow album that's got nothing to do with DP. G To me it bears little resemblance to the Purple catalogue. Jon called me and said he'd walked because of problems with Ritchie and he knew the album would bomb with the sound Ritchie and Roger wanted, the smooth American AOR for radio play. Ironically the album did terribly on the album charts in America but the singles fared relatively well. I only did it as favour to Jon and I was good friends with Paicey and JLT. The fee paid for a complete refit of my recording studio so I wasn't complaining. |
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Post by granny on Apr 16, 2020 9:41:10 GMT
Why do you think I'm on wife number three?  |
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Post by musiktruhe on Apr 16, 2020 16:01:39 GMT
I really like the album, good songs and good playing. The sound is a little bit smooth but still okay and there are real songs and they are gone since Ritchie left Deep Purple.
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Post by frozenhero on Nov 29, 2020 16:07:33 GMT
Tony has likened Francis to Blackmore in character which is interesting. I have been intrigued by certain musicians in bands who have had a driven mentality. John Mayall for starters. He has had a reputation as being awkward to work with and demanding. He has denied this and thinks of himself as easy to get on with. Though he did have that leader and driven type of personality in the 60s when getting established with his band in Britain. A strong vision of what was needed to succeed in the blues. Mayall would be the sort of person who, after sound checks, would be on the door with a 'clicker', counting the number of punters coming through the door into his gigs. A way of gauging the band's popularity and needing confirmation that he was succeeding. He could quite coldly sack a long term friend and band member in favour of the new kid on the block (Clapton) because in his mind it was a no-brainer in terms of getting closer to the Holy Grail of blues and commercial success. He has certainly seen many musicians come and go in his band through the years. Perhaps he isn't the most tolerant of people if he senses a weak link or anyone not pulling their weight? Wanting things done his way? He's now in his 80s and still touring! From reading his biography, it seems like he didn't often "fire" somebody just because he didn't get along with them. There have been many cases where he simply wanted to change the sound and style of his band but mostly the musicians found other projects, and often became even more successful. The only thing that does sound a bit awkward is when he disbanded the last Bluesbreakers line-up, telling his guys that he wanted to take it slower, only to form a new band and go on tour with them. |
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Post by frozenhero on Nov 29, 2020 16:09:25 GMT
The album I produced was Chicago Line years and years ago, played keyboards on it too. I've done keyboards on a few other tracks over the years for him too but uncredited, just as a favour. Just listening to some no-name collection of John Mayall songs from the 80s (it's his 87th birthday today) and tried to find more info. Then I come across the info that you produced that album, from which some of the songs on that CD are taken! I guess that explains the strange synth at the end of "Dream About the Blues", eh  No offense but why does John need any outside keyboards. OK, he had Tom Canning who was quite brilliant, but that was more about interacting (e.g. both on a Hammond each, or John playing piano and Tom on the B3). |
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Post by railroad007 on Nov 29, 2020 16:12:43 GMT
Why do you think I'm on wife number three? At 20:47 on 15/04/2020 you were on wife number 3...was it okay? |
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Post by Deleted on Nov 29, 2020 16:46:13 GMT
The album I produced was Chicago Line years and years ago, played keyboards on it too. I've done keyboards on a few other tracks over the years for him too but uncredited, just as a favour. Just listening to some no-name collection of John Mayall songs from the 80s (it's his 87th birthday today) and tried to find more info. Then I come across the info that you produced that album, from which some of the songs on that CD are taken! I guess that explains the strange synth at the end of "Dream About the Blues", eh No offense but why does John need any outside keyboards. OK, he had Tom Canning who was quite brilliant, but that was more about interacting (e.g. both on a Hammond each, or John playing piano and Tom on the B3). He didn't want to play himself, when he called me he said he wanted a different keyboard sound and liked all the work I'd done with Peter Maffay and round then with Chris Norman from Smokie and Joe Cocker. I suppose sometimes musicians just get bored, look at Francis letting Pip take the solos on some his productions. |
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Post by Deleted on Nov 29, 2020 16:48:42 GMT
I just had to relisten to this, it's been so long since I listened to that album .
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Post by dennis on Nov 29, 2020 18:23:30 GMT
I just had to relisten to this, it's been so long since I listened to that album . I think it's one of those albums that has been released in a few different guises. The version I have came in a nice tin: :format(jpeg):mode_rgb():quality(90)/discogs-images/R-5883773-1405361894-3348.jpeg.jpg) |
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gav
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Post by gav on Mar 17, 2023 11:50:11 GMT
Was this the picture from the original post on this thread? (seems to have disappeared)..
Birmingham NEC??
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37
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Post by 37 on Mar 26, 2023 12:21:40 GMT
I didn’t miss Andy for a second in 2013/14. This! |
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