Archive for the ‘Fanzines – backissues’ Category

I published DEEP PURPLE MAGAZINE #14 in July 1980 so it has been 40 years. I actually published two of them that month so I will be back with another cover a couple of weeks from now. Not the prettiest version of Whitesnake, but man could they rock! “Ready An´Willing” was out at the time, first album to feature Ian Paice.

Good times.

(Cover shot courtesy of EMI)

I published DEEP PURPLE FOREVER #3 in September 1991 and I will translate a couple of pieces from it in the next couple of weeks (this being the first). I had just spent a decade writing for magazines and newspapers so I had a lot to draw from that I could use in this publication. I enjoyed it all very much and it is good fun to look back on this stuff now. I printed 32 issues of DEEP PURPLE FOREVER. #3 had a great cover shot of Ian Gillan by my friend Michael Johansson. The first story is titled “Toto and Deep Purple”. Enjoy…

TOTO AND DEEP PURPLE

Toto is the musicians and the artists favourite band. When they perform you will see loads of familiar faces in the VIP section. Trust me on this. I have seen it again and again. Having said that though, even guys like these have idols themselves, and this is were Deep Purple comes into the picture.

I have met Toto several times in the last few years, Steve Lukather on six different occations. We have certainly chatted about past influences, music that has mattered. We also have an interesting detail that draws Toto into our sphere of interest even deeper as drummer Jeff Porcaro actually played with Tommy Bolin on his “Teaser” album.

So let us begin there and pretend that you are with me at the Hotel Sheraton in Stockholm a few years ago with the band at a press conference. They will play at the Johanneshov Arena later that night and after the press thing I ask Jeff if he would mind posing with a copy of the UK Deep Purple Appreciation Society magazine Darker Than Blue which sports a nice Tommy Bolin cover. He politely agreed and as I took a couple of snapshots keyboard player David Paich popped by and said “Is that Tommy Bolin?”. It turns out that they have a good deal of love and respect for Tommy. Jeff also mentions that he played on some tracks for “Private Eyes” too, but that it was not used. It is well known that Tommy recorded quite a lot of stuff at this point which Jeff can confirm.

I tried to get confirmation on a story that Iron Maiden (and former Gillan guitarist) Janick Gers had told me back in 1982, that Tommy had been in pretty bad shape during these recordings and that a guy that had been in the studio at the time had told him that he even fell off a chair at one point when he was doing a solo and ended up on the floor unconscious. Jeff was not inclined to answer the question and I could tell that he did not like it. “There are things that is nobody elses business”. Clearly, Jeff is still disturbed over the fate of Tommy and very protective to this day.

(I just want to insert here that I am not proud of that question, I was way out of line and Jeff was right in his response)

Steve Lukather, one of the top guitarists in the world today, recalls his influence of Tommy. “My roots in jazz rock is Jeff Beck and Tommy Bolin. I still remember the first time that I heard “Spectrum”, it was just unbelievable. They all performed so well on that album, Jan Hammer, Cobham… and it was all live, which makes it even more incredible. You can even hear Tommy lose a guitar string in one of the tunes. I was also a big fan of James Gang, both with Joe Walsh and Tommy and I still love to jam songs by them with my friends”.

Steve is also a fan of Deep Purple. “I was a big fan in my teens and I still listen to them. I love these guys. I love Ritchie Blackmore. He has a very distinctive feel. So many guys are copying him now but he is the greatest. I have no idea how he deals with that but in a way it is complimentary although it would be better for these guys if they tried to find their own thing”.

Then our conversation turned to Glenn Hughes. “He used to date my wifes sister a few years ago so I know him well. Have you met him lately? Do you know what he is up to? He sings on the new Whitesnake album? (This chat was had when Whitesnake was about to release “Slip Of The Tongue”). I have heard that David Coverdale is spending a lot of money on Whitesnake now. I heard that Steve Vai got 300,000 dollars to join”.

Another time, when we meet backstage at the Globe Arena after a Toto show I ask him if the rumour that he plays on an upcoming Glenn Hughes solo album is true. Sadly, the answer was that this is not the case. “I have not met Glenn in a while now. I have called him a few times but he has always been out. Had he asked I might have done it, even though I am a bit tired of guesting on other peoples records”.

I can understand where he is coming from here, since the critics have always loved to hate Toto and that they have looked down on them as being nothing but a bunch of studio musicians (how crazy is that?). The truth is that they have certainly played with a lot of people, but only because they have been in demand because they are so good. And how do you say no to friends? Living in Los Angeles, you are in the thick of it. “I did sing a little on the new Van Halen album”, he said in our last conversation. “But we are neighbors and close buddies. Eddie gave me a song for my first solo album and played on that”.

I will end this piece with a few words and thoughts about Toto. The critcs in this country, and pretty much everywhere, have always hated them. My take is that this has occured because they came along when everybody was praising the punk movement. So they had to hate something and Toto became a part of that hatred. This is pathetic beyond belief. We now have a second generation of critics that are just repeating the same old crap. The fact remains that these guys can play, they have it all down and they bloody well know how to rock. This is never going to be accepted though, which is a shame. The critics will just follow the gospel, that Toto are boring session musicians and nothing more. Well I have seen them play Jimi Hendrix stuff and they crushed it. Just over the top superb versions. Steve is a rocker, trust me.

Michael Eriksson DPF 1991 / Trinkelbonker 2020

I want to add that it has been nice to see Steve Lukather support the Deep Purple family in recent years, praising them on camera and playing on a Tommy Bolin tribute album. Kudos Steve.

(My shot of said article in DPF 3 – “Teaser” ad on the right side)

This interview with Deep Purple´s Roger Glover goes back to my DEEP PURPLE FOREVER days. In 1996, Steve Morse was the new guy in Purple and the band set out to promote “Purpendicular” in a big way. They wanted to restore the reputation of Deep Purple and that could only be done by taking it to the people. This meant way more concerts, and outside of the usual cities too. In Sweden that summer, we got 10 gigs. I looked back on this a couple of days ago on this blog (June 25), today I will share the chat that I had with Roger. My friend Staffan Eriksson was with me and a guy from a magazine called Slitz also joined the conversation. This is all of it, as it was. The show in Paris that is mentioned ended up as the “Live At The Olympia” live album (released in 1997). Enjoy.

I want you to know that a lot of people seem to think that the joy is back in your playing, especially if you compare “Purpendicular” with “The Battle Rages On”.

– It is called “having fun” (laughs). (Pointing at the cover of DPF #11) Nice cover.

Thank you, it was taken in 1994 when you were here. Let us begin with this tour. You have just been in Russia for the first time. How was that?

– How did we percieve it?

Yes, you played in Moscow, right?

– Yes, it was a festival called Dynamo. It was us, Status Quo and a few local acts.

How big was the audience?

– Between 35,000-40,000. In fact, it looked like there were as many soldiers present as there were fans. It was incredible, the crew said “You are not going to believe this”. Uniforms of all kinds.

So a bit strange perhaps, but I am sure the people are nice over there.

– Oh yes, it was not that strange. Big festivals usually has an atmosphere of excitement in the air anyway. It means that you are open to take chances, especially if the sound is good. The worst that can happen is that you try too hard. It can have an opposite effect. It can be a bit frustrating if the audience is way in the back. That really is the worst thing that can happen and it was a bit like that in Moscow.

Too many soldiers in the way?

– Well, there were four lines of them.

So the Moscow concert was the most strange one on the tour so far?

– I guess you can say that, but I do not like words like “best”, “worst”, “loudest”, “lowest”…

You are doing a very long tour. Have you decided yet when it is to end?

– Probably 2014…

(Laughs) No, really. But these long tours, looking back at your history, as some people will, there is a worry that the workload can be too much and lead to a repeat of what killed the band before…

– We have no plans to split at this moment.

(Laughs) Thank you very much!

– Not this decade. Not this century even!

Well, that would be something would it not.

– It is not that far off is it?

A couple of albums…

– Yes, a couple of records and a few million concerts!

What about America? Are you planning to ease back into that market again?

– Sooner or later we are going to play there again. No doubt about it. People are discussing it right now.

Are you happy about your American label? Has the album sold anything Stateside?

– No, the album has not sold well at all in America. America is the slumbering market and it is difficult for us to be heard. It has nothing to do with the label, it is the current musical climate and we may not fit in right now. In some sense, we are an underground band again over there.

Depending on your point of wiew, that can be a good thing…

– We do not mind. What we do may not be hip at the moment but that is not our problem. We just do our thing. And the strength of this band is that it is very natural so it is not in our nature to chase what is popular this week. In all honesty, and I have to say this, I am so happy about this new record and how we are right now that I have to think that it will sell some day. It might take a year or two for the word of mouth to do it, but I think it will happen. “In Rock” meant nothing in America, “Fireball” had a better response. We may have to go through the same thing again, it may take a few years for America to discover us again.

But you may have to do 150 concerts in America to make that happen again…

– I have nothing against us doing that.

It would be amazing if you did.

– If everything is right, the timing, the backing, we have nothing against hard work.

Have you decided to record another album next year?

– Yes, but we do not know where or when. The tour might end in March, but that is me guessing. We would like to play in Australia and South America too. But these are just thoughts I have and I would not be surprised if we tour until maybe April next year and then the next album will come up after that.

Was “Purpendicular” a result of you jamming together?

– Was it a jam? Yes, it was well cooked (laughs).

Joe Lynn Turner apparently wanted to call his album with you “Jam”…

– I do not think I know who Joe Lynn Turner is. But yes, the new album is a result of us jamming together. It felt like 1969 again. It is the first album since those days when we feel like a real band again. The chemistry of a band is so important. We have always been blessed in that, even in difficult situations we have always been able to come up with decent stuff. Even our worst records have some good songs on them. You will always try whatever the situation may be to do your best. Nobody ever walks into a studio with the ambition to make a bad album and you never walk on stage thinking lets do a bad concert. If it happens, it happens. That is life. I am beginning to view Deep Purple as this gigantic soap opera. It goes up and down, but now everything is fine.

Have you recorded any shows yet?

– We recorded Paris, with a horn section!

Horn section?

– Yes, we had a few guys with us and they joined in for a few tracks, like “No One Came”, “Highway Star”, “Purpendicular Waltz” and “Cascades…”.

That is fantastic. I had no idea.

– AHA! (laughs)

Well, I have heard that something might happen in Montreux on this tour?

– Maybe a repeat of what we did in Paris, yes.

Staffan / Do you miss Ritchie?

– I have nothing negative to say about Ritchie. He has been part of my life. But I am happy now, I can say that.

Slitz / I have a question about Joe Satriani. I have heard a bootleg of one of the shows that you did with him and it sounds pretty good. So why did you not ask him to replace Ritchie Blackmore?

– Why did not Joe Satriani get the gig in Deep Purple? He was the guy that stepped in when circumstances dictaded quick solutions. We had a sold out tour in Japan and to go there without Ritchie would have been a risk. So when Ritchie quit we said “Can you please do Japan?” and he said “no”. So I said “Well, you want to leave the band but if we are not going to Japan we may be sued” and he still said “no”. So we were forced into a situation in which we had to try to help safe face for the Japanese promoter. We stood to lose a lot of money if we could not fix the situation and the band could have ended its days with a bunch of lawsuits and nobody wanted that. But the guitarist would have to be somebody with a reputation, for the promoter to be able to say “Ritchie will not play, but…”. And he suggested Joe. And Joe was fantastic, a real professional. I spoke with him on the phone and we sent him some recent live tapes to listen to and then we met in Tokyo and had three days of rehearsals. Not that he really needed it, he would have been OK anyway. He knew what he was doing. And the shows turned out to be great so we said “This is too good, can we do some more?” and he said “OK” and so we booked the summer tour (1994) in Europe.

Did you record any concerts with Joe Satriani?

– No. Ehr, yes, the Japanese shows were recorded. But Joe does not want people to hear it because he does not think he was good enough. You have to respect that. I mean, put yourself in his position. He was not a member of Deep Purple. He was a hired gun. I think we all thought “Is this the guy for us?”. But we never asked him if he wanted to join, maybe so we did not risk to hear him say “No thanks”? And at the end of that tour, when our manager talked to him, it became obvious that he would not join. He said the tour had been the most fun that he had experienced in his life, but that he was tied up for his own thing for at least the next two years. He had records to do. I also think that he looks at himself as being part of a younger generation and maybe he did not want to lose that? He had worked hard to get to where he was. Maybe he thought that he would lose all of that? Steve is not like that. He goes after his instincts and his heart. He is not planning his career, he goes to where he wants to be and that is it.

Do you recall what you played when the band first rehearsed together with Steve?

– Well, that was the concerts that we did in Mexico.

So you never met him before you shared the stage?

– No, it was the same kind of deal as when Joe came in, we sent Steve some tapes and he listened to it. Like with Joe, Steve was just a total professional. It felt like we could just do it. The first thing we worked on later in the studio is a good idea that we still have to complete. Another early idea turned into “Loosen My Strings”.

Staffan / Great bass.

– Thank you. We were just warming up. I just started to play a few things just so that we could get the sound right and Steve joined in. He said “What is that?”, and I said “I am warming up, what are you doing?”. And the band joined in and we had a song.

Do you always record everything that is going on in the studio?

– I am always ready but there is no point in recording every moment. If you did you would never have enough time to check it all out. So I have this DAT player and a microphone in the room and if anything interesting happens I turn it on.

All these tapes from all these recordings… Could you see yourself, someday in the future, sitting down and wading through all this stuff so that the fans could get to hear some of these precious moments?

– I have a 24 track recorder at home and I have a lot of tapes. Sometimes, if I feel a little bit bored, I find myself listening to old tapes of Deep Purple and I have to say that at times I can not help but think about you guys out there (smiles mischievously)…

Slitz / The “In Rock” remaster you released now is pretty interesting.

– Yes, and we are working on “Fireball” right now. Here is a bit of news for you, we did locate a forgotten track, made in 1971. We have still to decide on a title. But it will be on the updated “Fireball”.

Slitz / When you released “Nobody´s Perfect” Ian Gillan called it “an inferior version of “Made In Japan””, so “Come Hell Or High Water”…

(Me) … is a lot better…

– No, it is not. “Made In Japan” was completely honest. “Nobody´s Perfect” was honest in as we told people what we had done on the cover. At the time I thought that if we recorded a lot of shows we would eventually relax and not even think about it. That was an experiment that did not quite work out, nobody cared about the tapes. So when I was tasked to put the live album together I could sense that it was not great. But by then we had spent 100,000 pounds so there was no going back.

But “Come Hell Or High Water” is a good live album surely.

– “Come Hell Or High Water” is, if nothing else, an honest album. But I can for the life of me not understand why they did not put “The Battle Rages On” on it… I do not get that at all.

That was weird.

– It made us very pissed off! But that choice was not ours, we had nothing to do with that album. Nor had Ritchie. It was all the record company. It is terrible when you are criticized and you agree with what is being said. What can I say? We are now trying to make the live set interesting again. For a long time we were stuck with the “Made In Japan” formula, but we are changing that now. We always had a lot of suggestions for songs to play but Ritchie was never interested. You can not force people to do things they are not interested in.

Slitz / Will you record another solo album after “The Mask”?

– Maybe some day. “Accidentally On Purpose” (the Gillan/Glover album) was in a way a follow up and I have a lot of ideas on the shelf. But I have no idea how to package it. I am really not a solo artist. I have never toured as a solo artist. I give everything I have, all my energy to Deep Purple. It is about motivation really. But thanks for asking, I appreciate that.

(End of interview – DEEP PURPLE FOREVER #15 cover shot by Peter Klein, Roger/Steve shot by Staffan Eriksson)

By Michael Eriksson (and Staffan Eriksson & Slitz) 1996 / Trinkelbonker 2020

* * * * *

As of today, you can find the following interviews on this blog. Enjoy!

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).

I located an unpublished (on this blog that is) interview I did with Roger Glover of Deep Purple back in 1996 recently. There are more of them (both on this blog and in old magazines) but I will publish this particular chat right here this weekend. I had a hunch that I had not published it here and as I read it in DEEP PURPLE FOREVER #15 (September 1996) today I realized that it is a pretty good one. Deep Purple did 10 gigs in Sweden inside a couple of weeks that summer and I saw three. They got a shitload of press too and many of these articles were reprinted in this magazine. This was the good old days, when it was a lot of fun to have a Deep Purple club going. A short text of this crazy week was published online in English and I thought it was good fun to read it again today in this magazine (certainly brought back a lot of memories), so why not publish it here as a preview of the upcoming interview? The Glenn Hughes interview that is mentioned in this story can be found on this blog (May 12 2015). So, here we go…

A FEW WORDS ABOUT A VERY BUSY WEEK!

I just blew one week in what seemed like five minutes to me. So I must have spent most of it in the Twilight Zone or something! Here is what actually happened.

June 25. Payday. DEEP PURPLE FOREVER #14 arrives from the printers and I manage to mail these with a prayer.

June 26. Eight hour drive to Stockholm for the DPF Deep Purple party at the Bald Eagle pub. We stop and place leaflets from EMI in record stores (concerning “California Jamming” and the club) in a couple of towns on the way. Deep Purple are to play nearby and posters are to be seen everywhere. Then, the party.

June 27. Word reaches us that Steve Morse is going to have a guitar clinic at the Estrad Music Shop at five o´clock. We find the place and is treated with what can only be described as a musicians stand up comedy show! The guy is very funny!! Among many interesting things, Steve tells us that he has a small guitar that he plays while driving his car and while flying an aeroplane! Later at the Deep Purple show it is easy to see that practice makes perfect! Not a great show, but pretty good anyway. Steve is the hero of the day. Roger Glover agrees to meet the club backstage and this in turn evolves into a 20 minute meeting at the hotel later. At midnight the band leaves for Umeå by bus (we are talking ten hours here!).

June 28. Home to base.

June 29. Two hour drive to the town of Timrå. Deep Purple have 6,000 people go completely nuts! This was a highlight in my life as a Deep Purple fan. My sister bring her oldest children along (11 year old girl Cecilia and 14 year old boy Christian) and it is quite a moment for them. Cecilia is right in front of the stage for a while (under heavy protection) and Ian Gillan smiled when he spotted this little girl with the very big eyes as he strolled on to the stage. Possibly the best Deep Purple show I ever saw.

June 30. Lennart from the Glenn Hughes Coast To Coast Internet mailing list head for DPF headquarters to join us for the next trip.

July 1. We travel to Uppsala which is a six hour drive. We arrive just in time for another DPF Deep Purple party at Rackis pub. New Glenn guitarist Joakim Marsh shows up.

July 2. Two concerts to handle, Deep Purple and Glenn Hughes. Glenn talks to us for 90 minutes or so in the afternoon and as always the man is a pleasure to meet. The Deep Purple show is a goodie. Steve Morse tease us with the “Burn” riff in the “Speed King” solo (as often Ritchie did) but when Ian Paice joined him, Steve was already heading for something new. Plenty of jamming going down. I spotted a camera team from TV4 before the show so footage from this show should exist (perhaps the first three songs or something). After Purple we rushed over to the Glenn gig. Asked two women in possibly their mid forties for direction and they were rushing from the Deep Purple show themselves to check Glenn out! On this trip I have come to realize that most of the fans are over 30! Glenn presents a set of oldies. It is very loud indeed! After Purple, a bit too loud, but very enjoyable. “You Fool No One” was pretty good. That one will probably appear on the upcoming Glenn Hughes live album that is to be recorded in Japan later. I am looking forward to that!

July 3. Travel home. No rock music allowed in the car! Lots of mail waiting. So the leaflets seem to have been a good idea.

I would like to thank especially Glenn Hughes, Roger Glover, Jenny Larsson (BMG), Lennart Hedenström and Staffan Eriksson for all the support and goodwill during this busy week! Now I am off working on DPF #15. You have just read a short version of some of the contents of that magazine.

Thanks to Deep Purple for doing the Swedish tour! You are building up a new reputation! We all appreciate your hard work and wish you all the best!

Michael Eriksson 1996 / Trinkelbonker 2020

(My shot of said spread in DPF #15 – letter from Ian Gillan on the page to the right)

As I mentioned the Kiss “Destroyer” puzzle a few days ago, I came to think about the cool article I published in the final issue of RETROFUTURE (#8) in March 2015, written by Micke Mojo, Björn Höglund and Chris Laney. It was published alongside a huge interview with the legendary Swedish magazine creator Hans Hatwig (POSTER, OKEJ etc). A man that practically made Kiss in Sweden. I am so glad that I could do things like this in the last few years of this hobby.

I think it will be remembered.

(My shot of first spread of said content in RETROFUTURE #8)

Here is glimpse of the good old days. What you see here is a spread covering the career of Cozy Powell that was in print in my fanzine DEEP PURPLE FOREVER #2 (May 1991). I nicked the biography from a (then) fairly recent official press thing and added three more albums and a shot of Cozy on the right page and a story with a couple of “Down To Earth” era Rainbow snapshots on the left. The headline read “20 years with Cozy Powell”. I had met him briefly back in the “Headless Cross” Black Sabbath days but I never interviewed the man. So in 1991, I thought a piece like this was OK for the Purple magazine. After all, he had played on many Deep Purple Family related albums.

The years went by but in spite of me doing countless Purple related interviews during those years I still never got around to meet the man again. But my friend (photographer) Michael Johansson did and as he was hired to do a session with Cozy together with Yngwie Malmsteen for (the Japanese publication) BURRN! at the Strand Hotel in Stockholm on June 24 1997 he did manage to slip him a copy of the issue mentioned above. Cozy asked Michael why the biography ended in 1991 and found out that it actually had been published at the time. Later on, I did publish a spread from this occation in DEEP PURPLE FOREVER #28 (in February 2001 – as the club celebrated the 10th Anniversary), but as we all know he had passed on by then (in a car accident on April 5 1998). His visit to Sweden for this session, which was for Japanese promotion for the Malmsteen album “Facing The Animal”, was his last in this country and it had been very low key (no concerts or anything). When I published this shot people were quite surprised. You can see the cover shot of BURRN! that resulted from this very session in the layout down to the right.

Good times.

(My shots of these spreads – many thanks to Michael Johansson)

Today we remember Ronnie James Dio, whom passed away on this day in 2010. I blogged about it back in the day and that ended up in RETROFUTURE #4 (the publication I had going at the time). On his “Strange Highways” album, he sang: “Bury my bones on the moon, if they never should find me it would be too soon”. I asked him about that when I met him back in 2001 (the interview is archived in August 2012 on this blog) and he told me about it. Pretty deep stuff. But he was also a warm and giving person, supporting things like Children Of The Night (which is also talked about in that interview). He suffered blows in his life but he always walked tall. And that is how he should be remembered.

And he will be.

(My shot of RETROFUTURE #4 piece – cover inserted)

When I met Ian Gillan on one of his solo tours (in Östersund, Jämtland County) back in 1992 I showed him a photograph that I had obtained that was from the Deep Purple gig in Bilzen (Belgium), August 24 1969. I asked him if he recalled it and he said that he did. Now, you can clearly see a TV camera so that was of high interest at the time but he had no recollection then of that or having ever seen clips. I printed the image in DEEP PURPLE FOREVER #5 in April 1992 and it passed into Purple lore. Today, a 24 minute live clip has been added to the deeppurpleos page on YouTube, so whatever still exists, we now know that this footoge has survived for sure. If the entire concert has survived remains to be seen. However, what we can see is a very early showcase of MK2 in full flight, instrumentals only. It is quite brilliant.

Good day.

(My shot of DEEP PURPLE FOREVER #5 spread – photographer unknown)

I published DEEP PURPLE MAGAZINE #13 in May 1980 so it has been 40 years now. I ended up doing 28 of them and then I concentrated on rock journalism for the rest of the 1980s before going back to this hobby again. In the end, I published over 100 magazines.

Good days.

(Cover shot by Hasse Ivarsson)

As I looked through the old box of Deep Purple Family related photographs yesterday, I thought it might be fun to showcase these images from my good friend (photographer) Michael Johansson. He used to help me out a lot back in the fanzine publishing days and these shots of Ian Gillan (1993) and Glenn Hughes (1998) of them posing with various DEEP PURPLE FOREVER magazines looks pretty darned cool. The Purple guys were always very nice to deal with and they never ever said no to things like this. In fact, I recall Michael telling me that Ian looked at some covers and picked one with David Coverdale on the cover as his top choice, when he actually could have chosen one with his version of Purple that he was featured on. I think that says something right there. Ian is holding DEEP PURPLE FOREVER #5 (April 1992), 6 (November 1992) and 7 (May 1993). Glenn is posing with #21 (October 1998). I published 32 issues between February 1991 and February 2003.

Good days.

(Thank you Michael for your wonderful support over the years)