Archive for the ‘Classic Rock’ Category

Everybody is rescheduling their concert tours to 2021. Most of the festivals that had to cancel in 2020 has just moved up the bill to 2021, keeping most of the artists. No guarantees of course but we have to at least hope that everything is going to be OK next year. Deep Purple will release their 21st studio album “Whoosh!” on August 8 and it is going to be interesting to see if sales are going to be as high as what would normaly be expected (like Top 10 in Europe), or not. The Purple juggernaut has been at it for over 52 years but they have never released an album without the backup of a major tour. In fact, as Steve Morse noted in an interview I saw on YouTube recently, everybody has historically said that it can not be done. In other words, expect everybody in the business to follow what will happen with this album. Hopefully, the rock community will be out in force in support of this much beloved band. Same goes for Metallica that will have their “S&M 2” out on August 28. New releases are also coming up from Warkings, Kamelot, Stryper, Atomic Bitchwax, Primal Fear, Alcatrazz, Lionville, Black Rose Maze, Mean Streak, Ayreon, Avatar, Thundermother and Zakk Sabbath. I guess Deep Purple and Metallica are the really big ones.

Sadly, I see no sign that the upcoming Babymetal DVD “Legend – Metal Galaxy” will see official release outside of Japan (where it is due on September 9 – see the official trailer on their YouTube page). I guess this can still change and I really hope that it will because they need to showcase the new era on DVD outside of Japan soon. Best case scenario is that we might get both “Live At The Forum” and “Legend – Metal Galaxy” before Christmas. Babymetal and Nightwish are probably the two acts that have the most reaction videos on YouTube, meaning they are still pulling in new interest. They both have videos with well over 100,000,000 views on YouTube.

As for the magazine business, it has to be tough right now when advertising is probably way down for most rock publications. I have heard whispers of all sorts of deals, just so that they can carry on. I think live streams with exclusive guests and videos with the possibility for donations during the show could be one way to bring in some money. Most artists would probably be there for them if called upon. Without the rock publications, everything goes south real fast. And we are not out of the woods yet.

Worst case scenario is that this goes into 2021. If it does we will experience a bloody massacre in the music business. I prefere to not even think about it right now.

(Top shot includes new ad for Deep Purple shows next year and a Babymetal shot taken by Kalle Thelin in Stockholm in 2020)

Bought a bottle of 220 Volt Eternal Bitter (beer) eight days ago, for the old collection. Here is a quick snapsot of said bottle (it is made by Östersundsbryggerier here in Jämtland County) in front of a 1985 tour poster. I wish CBS/Epic had the common sense to rerelease the old 220 Volt catalogue (“220 Volt”, “Power Games”, “Mind Over Muscle”, “Young And Wild” and “Eye To Eye”, all released 1983-1988). To me they were the best Scandinavian band in the 1980s.

I will drink to that.

(My shot of said beer and poster)

Here is a couple of golden nuggets in the old collection, both with Deep Purple MK4 covers. Shot by Fin Costello in Los Angeles in 1975 as the band had just recruited Tommy Bolin, Glenn Hughes once told me how they had spent all day doing this photo session and that it had still been hard to find really good shots since they had been very relaxed (you do the math, I am trying to be nice here) and not entirely focused on the job. To me, this is one of the coolest sessions ever of Deep Purple and I have certainly seen great shots. That chair was used for individual shots of all the members as well as them alternating sitting in it in different group shots. I guess they were all hanging around when the individual shots were being taken. Seen here is Japanese publication Music Life (#12 1975, out when Purple hit Japan that year on the “Come Taste The Band” tour) and a Deep Purple Special from US publication Record World, published in 1976. This is the very copy of this Purple Special that was scanned (I had help by my buddy Staffan Eriksson since he had a scanner that could handle the size of this magazine) for the facsimile print that went out with the “Phoenix Rising” Deep Purple DVD in 2011. What had happened was that I had showcased this magazine on one of my old (and long gone) blogs and Deep Purple Overseas and (then in turn former Purple manager) Tony Edwards spotted it and he thought it would be great to use it for the DVD. Sadly he never lived to see the release but it turned out to be a pretty decent documentary. It was certainly voted Documentary of the Year in a German publication. Never achieved any credit, but that is just life. I have had my fair share of credits on Purple albums, I can live with that omission. I wish I had more information on the Record World Special, like how many copies saw print etc. Pretty rare now I bet. If you spot one, grab it. And that goes for the Music Life magazine as well. Classic stuff.

(My shot of said publications)

Well I added an interview with Wolf Hoffmann from Accept to this blog yesterday and I really need to showcase how brilliant Accept are today, all these years later. If you ever liked Accept, you really need to get the “Symphonic Terror – Live At Wacken 2017” DVD. You get Accept playing a good chunk of their all time classics (as well as new material) with a full Orchestra in front of a huge audience that loves every second of it. Wolf Hoffmann always included classical bits into some of his solos and this fusion of classic Metal and an Orchestra works incredibly well. I think this DVD is one of the better examples of how good it can be if you have the right kind of material as well as the attitude to make it work. Mark Tornillo is an excellent vocalist and he fits in very well in Accept, kind of like on the same level as Brian Johnson has done a good job in AC/DC over the years. Change can be painful and career crushing, but it can also work. For Accept it has worked out well and they are still producing great music. If anything, they are riding high again and you have to respect the iron will behind that. Nice cover art by Peter Sallay.

(My shot of said DVD)

I interviewed the chaps in Accept a few times in the mid 1980s and I really liked them back then (still do). I located an article that I had in print in a newspaper called LT (Jämtland County) here in Sweden on May 24 1986 a few weeks ago so I will translate that one for this blog today. Not sure who took that picture (was not me, could have been a promotional shot I guess). Anyway, I will translate the article just as it was. Enjoy.

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Accept digs Sweden. It was here that the first sign of possible international fame came up when 20,000 people rushed out and bought “Restless And Wild” 1982. Soon thereafter, they played in front of 1,200 fans at a cinema called Draken in Stockholm. Since then they have performed at Hovet (a hockey arena in Stockholm) three times and the third gig (that they just did) in front of 5,000 fans turned out to be the best yet. So things are going well for Accept and it really was here in Scandinavia that they found their first success outside of Germany.

The last time I met them they promoted the “Metal Heart” album and I will never forget their happy faces when they got Gold albums for over 50,000 copies sold of “Balls To The Wall” over at the Grand Hotel a few hours before the gig that night. It must have been one of the very first Gold albums that they ever got. In their excitement they promised to come back to Sweden every year forever. When I talked with guitarist Wolf Hoffmann this time right before the recent gig at Hovet he was optimistic and very sound. And this attitude is a good thing to have when you are undertaking the pressure of long tours and album recordings. Wolf explains what has been going on since the last time we met and about the scene at large.

– “We toured “Metal Heart” non-stop for seven months and outside of Europe we also did Bangkok, Japan and America. In the States we headlined in smaller hockey arenas ourselves and shared the bill with other bands, like Krokus, in bigger venues. The rest of the year, we recorded “Russian Roulette””.

The last time you were here, Stefan Kaufmann said that you were going to record a live album, but of this we have only seen a six track EP recorded in Japan so far.

– “What happened was that we skipped the idea of a full live album at an early stage, but on arrival in Japan the record company over there wanted us to record a couple of shows for that market. The Japanese market is very special in that way. So we recorded a couple of gigs and they released the six track EP with no overdubs or anything like that over there. It ended up to be fairly good and then it started to pop up in different markets and before we knew it it was out everywhere. I guess the other markets do not want to lose out”.

So when do you think that the timing will be right for a proper first live album?

– “I would like to do one more studio album before we do that, but then I think the timing would be right. We are already recording a few gigs here and there so in about a year from now I think it will look pretty good. It has to be a double LP with 15-20 songs covering our career. We shall see when we feel that the timing is right”.

How are things going in America? That market is still fairly new for you.

-“It is going pretty well over there, in spite of our kind of music selling less than a couple of years ago over there. I think that MTV got a bit turned off when the silly Senators wives tried to ban our music last year. Some bands are hurting right now. Our tour went very well though and we made a profit”.

Do you feel that the general vibe at a concert can suffer if you have really big crowds in front of you?

– “Personally I like 3,000 seaters best. It is amazing to play then, but you also have to think about how you present the band. And with all the PA equipment and everything else maybe it is better to play in bigger places after all”.

I heard that your first visit in Japan was a tremendous success.

– “Yes, we were just voted Best Live Band in a magazine over there. To have success in Japan is every bands dream really, it is all so well organized over there. We did five six shows in places like Tokyo, Osaka and Nagoya. And that is all you need to do”.

Everybody wants to play at the Budokan in Tokyo. Is that a dream for you as well?

– “Not really. It is a lot of prestige in it. Same thing with Madison Square Garden in New York, everybody wants to play there. But from a financial point of view, and soundwise, it is not that good”.

Are you happy with the new album?

– “Yes, I think it is our best yet. When we recorded “Metal Heart” we were under a lot of pressure to write commercial songs for the radio so we put songs like “Midnight Mover” on the album and it did not feel right. We will never compromise like that again. Also, we produced “Russian Roulette” ourselves, that is probably why it sounds more like “Balls To The Wall”. We produced that one as well”.

The UK market is one of the toughest in the world. You have had good press there but have you noticed an increase in sales at all?

– “No, England is very strange that way. The hard rock scene pretty much came out of that place but in spite of that this music is not very big over there. I have often wondered why England is the way it is. It seems that they follow trends”.

They seem to have a problem with coming up with new bands, most of the interesting new bands are coming from America, mid-Europe or Scandinavia now.

– “Yes, Scandinavia has surprised us lately. You hear about bands that are doing well out in the world all the time. Where did they all come from?”.

The American band Dokken has opened up for you recently. Why did they cancel Sweden?

– “Wow, that is a whole chapter in itself. I guess they have opened for us in about 40 cities now. But the thing is they are doing drugs and they are not behaving very well. Then a truck driver yells that there has been a nuclear accident in the Soviet Union and that Sweden is engulfed in a toxic cloud. They really believed it and we could not believe it when they refused to travel with us here, without even checking out the facts. They made a decision like that on the spot. Pretty tragic”.

It would seem that a lot of the American bands from Los Angeles are doing drugs.

– “Yes, sadly that is probably the case. They bring it on themselves, they will be burned out within a few years. It really is tragic and it is hard to understand the lack of work ethic that you see. This is a job, not a bloody party. We think longterm, we want to do this for the rest of our lives, and that requires discipline and a lot of hard work”.

Accept has all my respect and I think that they are going to be a very big band. Maybe one of the greatest. They are a band that you can trust, it feels good to know that they are down to earth on every level. Stability is important.

Michael Eriksson (LT 1986) / Trinkelbonker 2000

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Other interviews on this blog: DEEP PURPLE 1996 (June 27 2020), EUROPE 1986 (June 16 2020), DEEP PURPLE PODCAST 2020 (April 6 2020), KIMBERLY GOSS/SINERGY 2002 (March 31 2020), RAINBOW 1997 (March 9 2020), RAINBOW 1996 (March 6 2020), MICHAEL BRADFORD 2003/MAKING OF DEEP PURPLE´S “BANANAS” (March 2 2020), URIAH HEEP 1988 (February 18 2020), ANNE-LIE RYDÉ 1984 (January 21 2020), CRYSTAL VIPER 2020 (January 16 2020), JOHN NORUM 1988 (January 12 2020), ARTOMUS FRIENDSHIP 2019 (November 10 2019), NAZARETH 1989 (August 26 2019), VELVET INSANE 2018 (September 11 2018), JON LORD 1981 (December 15 2015), DAVID COVERDALE 1981 (November 13 2015), GLENN HUGHES 1996 (May 12 2015), TOTO 1988 (March 31 2015), YNGWIE MALMSTEEN 1990 (March 1 2015), MARTINA EDOFF 2009 (December 4 2014), MICHAEL MOJO NILSSON 2014 (January 21 2014), THE HUGHES TURNER PROJECT 2001 (December 29 2013), JOE LYNN TURNER 1996-1998 (October 9 2013), GLENN HUGHES & JOHN NORUM 1988 (September 21 2013), JOE LYNN TURNER 1994-1995 (September 9 2013), JOE LYNN TURNER 1993 (September 7 2013), STEVE LUKATHER 1989 (September 4 2013), BLACK SABBATH 1983 (August 22 2013), RAINBOW 1995 (July 19 2013), MICK UNDERWOOD/GILLAN 1982 (June 11 2013), DEEP PURPLE 2002 (May 2 2013), DEEP PURPLE 1998 ( February 25 2013), BLACK SABBATH 1986 (February 12 2013), BLACK SABBATH 1987-1989 (December 31 2012), JOHNNIE BOLIN 2012 (December 24 2012), MARTIN POPOFF & RICH GALBRAITH 2009 (November 12 2012), DAVID COVERDALE 2000 (October 14 2012), JON LORD 1984 (September 7 2012), JOE LYNN TURNER 1992 (August 31 2012), JUDAS PRIEST 1986 (August 22 2012), RONNIE JAMES DIO 2001 (August 20 2012), NIGHTWISH 2002 (August 14 2012).

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I love a good chunk of the Blue Öyster Cult catalogue so it is nice to be able to add this brand new edition of the 1981 album “Fire Of Unknown Origin” (in Turquoise Vinyl, 2,000 copies made) to the old collection. I had it on Vinyl once but that copy disappeared when I slimmed down the collection 25 years ago (darn it). Martin Birch produced this album. He was involved with Black Sabbath as well at that time and they shared the same management with B.Ö.C then, and even toured together. Nice cover art by Greg Scott.

(My shot of said release)

It just dawned on me that this trilogy of books (that I am currently reading) sits rather well together. You just know that the lore is intertwined on some cosmic level. Hear the angelic choirs and the mighty riffs, the tall tales and the echoes of the past. So what you got here is two new books from Martin Popoff in “Sensitive To Light – The Rainbow Story” (Wymer Publishing, 2020) and “Born Again! – Black Sabbath In The Eighties And Nineties” (Wymer Publishing, 2020) and the classic Mark Twain book “Personal Recollections of Joan of Arc” (this Swedish 2018 edition from Egmont is called “Jeanne d´Arc”). Mark Twain spent 40 years obsessing about Joan of Arc before he published this book in 1896. Many of the readers of this blog has spent several decades studying Ritchie Blackmore and Tony Iommi. And that would probably include Martin Popoff. Hardcore religion meets psuedo worship. Hardcore worship meets psuedo religion. Hardcore blogger goes off the rails?

I could go off on rant here but I will just say that I love this stuff.

(My shot of said books)

I published DEEP PURPLE MAGAZINE #15 40 years ago this month. I love the cover shot of David Coverdale. It was taken in Copenhagen in 1977 by Göran Holmquist (from the Swedish newspaper Helsingborgs Dagblad) when David was promoting his first solo album. Apparently, he needed an Aspirin so maybe he had revisited a club or two (like the Revolution perhaps?) from the old days the night before? Göran invited me to write for his newspaper back in the day so that is how I got to know him. Got that job because of the Purple club. Everything started with this publication really.

Good times.

Three weeks into my holiday today and I feel pretty good. Watched “Live At River Plate” by AC/DC on DVD yesterday (birthday present, thank you Kalle!) and it is an awesome performance. Also watching the tv-series Fargo at the moment. At my nightstand I have Mark Twain´s “Jeanne d´Arc” and I am still supporting my favourite magazines (Classic Rock, Sweden Rock Magazine, Rock Candy, Planet Rock) and comics (Tex Willer, Pionér, Davy og Miki) etc. I had the pleasure of seeing Babymetal live just a few weeks before all hell broke loose and that was a good thing. Then it turned ugly, in more ways than one, but this too shall pass. I am glad to see that the rock community is fighting back for the very survival of our beloved culture. Deep Purple is selling t-shirts to support the out of work crew. Joe Bonamassa has a charity going, in the UK you have the Save Our Venues campaign that is supported strongly by the rock legions. I see it all over the place. Books will be written about this. Now is the time to support your culture. If you have the means, this is the pivotal moment in our history. In Japan, Babymetal are doing their bit, supporting the famous Rokumeikan rock club in Tokyo. They let Babymetal perform there as early as 2012 and now Babymetal is there for them. There is much to do and luckily most of us are ready and willing to take part in keeping things afloat until things can get cracking again.

2021 here we come.

(My shot – note the Frank Frazetta figurine, how cool is that?)

Had a lot of fun in the old magazine publishing days and it is nice to be able to highlight some of this stuff on this blog today. Back in 1991, Europe drummer Ian Haugland accepted the invitation to share his thoughts on the Deep Purple Family (and to review Gillan´s “Toolbox” album that we had an advance tape of – the album had originally had the title “Primal Scream” but since Mötley Crue had a single with that name it was first changed to “Abandoned” and then it actually came out as “Toolbox”). Photographer Michael Johansson had been in Paris with Europe as they had shot their “Prisoners In Paradise” video and and him and Ian did this piece for DEEP PURPLE FOREVER #3, only to find out that the tape recorder had not worked. So a few days later, back in Sweden on his day off, Ian redid it and I got a package in the mail with some shots for the article by Johansson and a tape with the quotes you are about to revisit here now (all these years later). I always liked the guys in Europe, they are good people. So lets dive right in…

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IAN HAUGLAND – “I changed my name to Ian Haugland when I joined this international orchestra. My real name is Jan so I went with Ian, not least because of Ian Paice whom has always been an inpiration. We are both left handed drummers”.

DEEP PURPLE – “Deep Purple has always been one of my favourite bands. They were, along with Black Sabbath, the first I heard in hard rock. And I recall the exact moment that I heard them for the first time, it was a radio show and the well known (Swedish) radio personality Kaj Kindvall played “Smoke On The Water” on his show. That is my very first memory of Deep Purple and it must have been quite a moment for me or I would not remember it in such detail all these years later. The memory is very vivid, me and my brother sitting in our living room and listening to “Smoke On The Water”. I was eight or nine at the time. After that I was hooked on this kind of music. The first records I bought was “Burn” and “Machine Head”. I had already got “Shades Of Deep Purple” as a Christmas present, probably in 1972 or 1973, but that album confused me more than anything. It was not very tough, it was just too weird. Ritchie Blackmore had already left the band when I started to buy the albums. I really loved Tommy Bolin, I thought Deep Purple became even better then. I guess I was rooting for my band. It was my band. Then when Purple broke up I started to check out Rainbow”.

RAINBOW – “A friend of mine in school had bought the first Rainbow album and we hurried over to his place on a lunch break in school and listened to it. He insisted that I should listen to it and I thought it was very good. I remember this clearly, I thought that Ritchie was singing on the album the first time I heard it”.

INFLUENCES – “I was very much into Ian Paice but in the end it was Cozy Powell that made me want to play drums. This is also something that I recall, I was in my room and I tried to keep up with Cozy in “A Light In The Black”, the bass drums. That was awesome. After that I got my first drum kit, in 1977″.

FIRST CONCERT – “When “Rising” came out I started to get more invested in the whole thing. I became a real freak. It was 1976 and Rainbow were to play at Konserthuset in Stockholm. It was me, my best friend and his mother. It was an awesome experience. They were like Gods to me. I could not understand that they really existed. We had only seen them in magazines at that point. Seeing them in real life was life changing. I was up at the balcony looking down at the rainbow they had and Cozy Powell. It was unbelievably loud. I was not in shock, it was more a case of feeling that you had been run over with a tank. But something awakened in me at that concert. I felt that there was a real power here, the whole thing was very inspirational”.

IAN GILLAN – “I remember buying “Child In Time” when it came out. I thought it was cool. A bit jazzy, different sounds fused and I loved “Clear Air Turbulence” even more. I liked him in Black Sabbath too although it was a bit strange to see the singer in your first favourite band sing in your second favourite band. “Born Again” was good, dark, but maybe the sound was not that great. It was like listening to the record with a blanket over your speakers. I hated to see them play “Smoke On The Water” though, I had a hard time with that”.

THE EARLY POST PURPLE YEARS – “I thought “Malice In Wonderland” was good. It really sounded like you had half of Deep Purple in there. Then I bought Jon Lord´s solo albums, “Windows”, “Gemini Suite” and later “Sarabande”. I never really got into it, I bought them more to understand where he was coming from. I was disappointed in Glenn Hughes when he released “Play Me Out”, I thought it was way too much like disco and stuff. I really enjoyed the early David Coverdale solo albums though”.

EARLY WHITESNAKE – “I thought they had some good songs. In those days I had yet to warm to the blues. Do not ask me why, it was just the way I was. I wanted everything tough back then. Whitesnake was a little too slick but looking back on those early Whitesnake albums now I can really appreciate them. I guess I was more into Rainbow in those days”.

THE BEST PURPLE FAMILY ALBUMS – “For Rainbow, it has to be “Rising”. Whitesnake is a little harder, maybe “Slide It In” and the live album. But “Slide It In” was very good. I thought that Ian Gillan started out his bands well with “Child In Time” and “Mr Universe”. My favourite Deep Purple albums are “Burn” and “Come Taste The Band”. Maybe “Burn” sticks out because it was one of the first that I bought. MK II? Well, looking back there is great stuff on all these records, “In Rock”, “Machine Head”. It is very good stuff. But for me it is always “Burn” and “Come Taste The Band” first. These are the albums that makes me go YES!!”.

THE PURPLE REUNION – “I thought it was OK that they got back together again. “Perfect Strangers” is a good album. I saw them in Sweden in 1985 and I enjoyed it. It felt right, it was the lineup that had had the most success. They looked a little tired but what can you expect? As regards to “The House Of Blue Light”, I am not sure if I have an opinion. It was alright that they did it. They had earned the right to do it. There was a clear interest in that kind of music. Like it is today, blues based rock will always endure.”.

PURPLE WITH JOE LYNN TURNER – “They should have quit. The problem is that it feels speculative, like trying to squeeze blood from a stone. That is sad because you have some good songs on “Slaves And Masters”. Some of them are among the best that they have done in years, but it still feels like late Rainbow. Joe Lynn Turner is a great singer and maybe he was an obvious choice for Ritchie and Roger Glover after they had worked with him before in Rainbow? But it just feels wrong on some level. Deep down I know that it should be OK because they have changed before but I still find it hard to take. I guess we felt that the reunion was about getting MK II back together again. You read interviews with Ritchie and he said that if this did not work out it would mean the end of the band. I hope they stop to produce records because there is a real danger that they will end up like another Sweet or Uriah Heep. It is hard to see them replace Ian Gillan but at the same time they have done a pretty decent record. I saw them in Stockholm and I was excited when I heard that they opened with “Burn” on this tour, so I was ready to embrace it. It was like, maybe they can still pull this off? But then I saw the show and it was so bad, they played so badly. It was almost embarrasing to watch. That disappointed me. On the other hand, I heard that they played well in Gothenburg the next day and Purple has that reputation that it can be different from one day to the next. And maybe that is part of the appeal? It is the same thing with Guns N´Roses”.

ON IAN GILLAN´S LAST ALBUM “NAKED THUNDER” – “I really liked “Naked Thunder”. It was probably the best album that he had made since quitting Deep Purple in 1973. Good songs, good musicians, like one of my favourite drummers Simon Phillips. It has a broader appeal, maybe even too much so? Maybe it lacks a clear direction?”.

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(Song order as on the advance tape we had back in the day)

“Toolbox” – “Loads of energy here. A melodic uptempo rocker. Good opening track”.

“Hang Me Out To Dry” – “There is a lot of good riffs on this album. This is the weakest song of the opening three I think. A bit bluesy maybe”.

“Dirty Dog” – “I really like this riff, it is very good. It almost makes you think about “Zero The Hero”. And it reminds me of old school Purple”.

“Candy Horizon” – “This is a great track that they could open up the shows with. It leaves a good impression. The sound is good. They have a good drummer, that guy from Y&T. I like the guitar player, he plays from the heart if you know what I mean. Gillan sings really well. Nice drum outro”.

“Don´t Hold Me Back” – “I like this one. Great drums, laidback still interesting. Very suggestive. Good lyrics, this is probably one of the best songs on this album”.

“Pictures Of Hell” – This is my least favourite track so far. A lot of energy for sure but it is a bit too traditional to grab my attention. But you need songs like this one on an album for the sake of variety. If every song is great nothing sticks out”.

“Dancing Nylon Shirt” – “Bloody good riff. I like the rhythm here. Reminds me of Zeppelin. This Steve Morris fellow seems to be a good riff player. Bit like Tony Iommi, good riff”.

“Bed Of Nails” – “This is another uptempo song that makes you think of old school Purple. This could have been a Blackmore idea in the mid 1970s. Maybe not one of the stronger tunes, but perhaps the best fast one”.

“Gassed Up” – “Pretty melodic and good refrain I think. Umm, it seems that I have a hard time to get into the faster songs on this album. And many of them are pretty fast. Still, they have to exist or it gets to be boring”.

“Everything I Need” – “I like this one too, a bit more bluesy. Commercially I do not think that this well sell much. But he will prove to his fans that he is still a rocker at heart and that he is going to do his thing”.

FINAL WORDS – “I do not think that it is too late for Ian to get bigger commercially, he is still considered one of the best singers in hard rock history. To get up there he needs a hit. I am not an A&R guy but I do not think that you have a hit song on this record. But as a rock fan, I can really appreciate this music. I mean, I am a big fan and I would buy this on release and dig it. I think a lot of people who will buy this will come to the conclusion that it is one of the best solo albums that he has released. It is better than “Naked Thunder” in that it has a clear intent. He has surrounded himself with good musicians. I really hope that he has success with it. I would like to see him reaching that acclaim. This may sound strange but he belongs to a dying breed. Our heroes are all like 45-50 now. Stones, Rod Stewart, Deep Purple. Who knows, maybe this is just right? It is not a classic but it is a good album”.

Ian Haugland for DEEP PURPLE FOREVER #3 1991 / Trinkelbonker 2020

(All photos by Michael Johansson – many thanks for all those years Mike!!)

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