32 February 1986
32 went to town on Knebworth and the rest of the European
tour. Like many, one show was simply not enough for us. The
fact that - Deep Purple's set aside - it was such a dreadful
experience in many ways just rubbed salt into the wound, so
we booked onto one of those organised coach trips - ticket,
travel, hotel all included - to Paris. After we'd booked, we
discovered they'd added a second show, so (when the organisers
refused) we sorted this out ourselves thanks to dpas man Thierry
Pierron. It was a bit of an adventure for me anyway as I'd never
been out of the UK before! Or should that be allowed out?
a much better experience than Knebworth (or Mudworth as it was
now generally known) despite Ian being a bit rough. Instrumentally
the second night was awesome and we were suitably humbled. Knebworth
had been taped and aired by the BBC, though sadly they managed
to lose a couple of tracks almost at once. It was some time
before we could get this issued officially. With my new found
reprographic skills I was able to drop in better quality photographs
to the 24 page issue than before, whilst struggling to learn
about dots per inch and screen sizes as I did so. Elsewhere
technology had arrived chez Stannington Road with the delivery
of a brand new Amstrad PCW word-processor which I'd invested
in with the massive profits (!) from sales of the first discography.
I'd lusted after the early Mac Classic but their first printer
couldn't deliver any output sharp enough (laser printers were
still not available). The Amstrad by contrast could take use-once
carbon ribbons, and produce type suitable for reproduction in
a magazine. Despite what would now be seen as a laughably slow
speed, floppy discs which were unique to Amstrad, and a glaring
green on black screen, once I'd seen what it could do I threw
out the Snow Pake and didn't want to go back to a typewriter,
so the mag was inevitably held up while I tried to master the
technology. It was a huge leap though I had to spend literally
hours waiting for the printer to churn out the columns. It also
produced so much electrical interference that it upset the TV,
which didn't go down too well!
from the reunion, the mag took in a look at Gillan's early career
after we'd been contacted by the guitarist from one of his early
groups who agreed to an interview. There was loads of vinyl
to cover, including those ludicrous EMI reunion cash-ins, with
me railing against the fact that my name had been added to The
Anthology, even though I'd had nothing to do with it whatsoever!
Meanwhile the reunion bootlegging scene was already so advanced
(fifteen titles confirmed) that we began a rolling check-list
to be updated over the next few years. Another check-list was
a very detailed Perfect Strangers tour gig list, which was assembled
with care and is still pretty accurate even today. Amusing
to see in the video column that EMI were starting work on a
Deep Purple video history - over eighteen years on we've got
fed up of waiting so I'm doing it myself. The Deep Purple Rises
Over Japan video had also just been cancelled despite full page
colour adverts in Kerrang, but the 1973 ABC In Concert had turned
up on Brazilian TV of all places. Elsewhere some folk were investing
in home video cameras and shooting gigs from the balcony, so
some pretty dreadful wobbly pirate videos had begun to appear,
which gave the poor viewer serious migraine after about five
Purple players were taking time off. Whitesnake were still on
hold while Coverdale looked for "young fresh talent" and then
hired Aynsley Dunbar, who'd been recording since the sixties.
We were bemused by stories that Glenn was joining Black Sabbath,
and even more bemused when they turned out to be true. Blackmore
fans missing Rainbow could find respite in a double compilation
called Finyl Vinyl, which sadly seemed to rather cobble together
bits of various live shows instead of try to make anything of
them. The impact of 14 mostly new live tracks was lessened by
the lack of anything pre 1978, meaning what most regarded as
the classic era was left off, and the random inclusion of three
studio b-sides. Still, quite a reasonable effort, even if we
did confuse readers by running the cover picture sideways...
32: DIGEST & INDEX
REVIEW : Knebworth
REVIEW : Paris Omnisports de Bercy
: European Tour, Radio & TV Coverage
: Aynsley Dunbar, Don Airey, & The New Album
REVIEW : Phenomena
Knebworth Fayre, June 22nd 1985 - Live Review
they'd been and gone before we could wink an eye, at least it
seemed that way as the fireworks exploded in the damp night
air, and echoed across the surrounding countryside. As I looked
around at the smiling faces in the crowd there seemed little
doubt that against all the odds Deep Purple had indeed pulled
it off, yet their set had seemed to flash past, and was over
before you knew it. I'm not going to go on about the stupidity
of putting all your eggs in one open-air basket; the decision
obviously had little to do with what the fans wanted. I little
thought when the reunion was announced that they would force
us to go through what was for most people a very boring and
squalid day, and my sympathies to those of you who suffered.
then; impressive and, at times, extremely moving. To me the
two real highlights were firstly Perfect Strangers, with a truly
spine tingling performance from the band. This in turn was enhanced
by the sudden burst of laser effects, and as the band romped
on towards the end of the number, with the green shafts of lights
bouncing around the arena area and off through the trees into
the night sky, the whole feeling was really magical. My second
moment of sheer joy came during Speed King when, for what seemed
like an age, Messers Lord and Blackmore traded riffs like demons.
It was especially pleasing to hear Ritchie getting into it,
because this was one of the few times when he actually made
a real impact. Blackmore played the whole set in wellies, a
nice touch even if a lot of people further away missed the humour
Indeed the rain had become so bad during the wait for Purple
to come on that they must have been getting really worried.
There was a waterfall cascading down from the inadequate roofing
beside Jon's gear, which was covered in polythene for the entire
show. As it began to darken, the smoke from dozens of small
bonfires around the field began to drift slowly down the hill
and off into the surrounding oaks. The large speaker towers
looked like nothing so much as ancient siege towers stood on
a medieval battlefield. The eeriest part of the day had to be
the long trudge out of the site. In an effort to save a buck,
the lights along the way had been turned off and it was a question
of merely following the body in front, resulting in an endless
stream of muddy bodies hoping that somebody knew where the exit
was. Looking back, you could see hundreds of twinkling head-lamps,
and Knebwortb House itself - no film maker could have created
a better scene.
de Bercy, Paris, July 8th 1985 - Live Review
nothing else you'll never see two shows the same, and this was
a different kettle of fish from Knebworth. The set remained
the same, still no Child In Time, but lan's voice seemed shot,
whereas at Knebworth he'd fared OK. lan was most at ease on
the newer stuff, it's a pity he has to live up to his screaming
In-jokes came thick and fast - the TV brought a forest of potted
tree type plants, and lan gave all the songs tree type intro's
much to the amusement of the band and bemusement of the crowd.
Highlight? No contest really - Paicey's solo - it just left
me mouth agape, he remains the best. Listening to him and Glover
you've got a song in itself, Ritchie provides the icing on the
cake. As the gig progressed the mood changed. Ritchie was off
stage more, and to cap it all Jon rocked his Hammond once too
often in Space Truckin' and it went phut! Ritcbie still managed
a blistering solo to wind it all up. Jon on synth for Smoke
On The Water didn't sound quite the same. Blackmore gave the
crowd a thumbs down sign at the end showing his displeasure.
It was a bit up and down. I bet they played a blinder the next
night." Steve Grover
Tour Media Coverage - News
and TV coverage of the European tour has thrown up a few interesting
things. Firstly Knebworth. The festival was not filmed professionally.
A local BBC news team did wander about with a hand-held camera
back-stage, and this made BBC TV East's news prog on the 24th
June - about 30 seconds of interview with Gillan, Glover and
Lord, and 20 seconds of Highway Star (also filmed on the hand
held camera), but this was all film-wise. Given the incredible
atmosphere it seems a real pity nothing more was done.
BBC Radio One did record the entire festival. Around forty minutes
worth of Deep Purple's set, along with some bits of interview,
and numbers from some of the support acts was aired the following
weekend. Then in October there was a special 'Knebworth Through
The Night' programme, starting at ten in the evening and going
through until some godforsaken hour of the morning when we were
promised a full broadcast of Purple's set. As those of you who
propped match-sticks under your eyelids found out, this was
a little optimistic. The played most of Purple's set,
but left out Under The Gun, Lazy and Woman From Tokyo. Curiously
Lazy had been one of the songs aired first time around, but
the other two remain unheard.
TV cameras were at the Paris shows on 8th & 9th
of July. It was the second of the two nights which they chose
to broadcast. The filming is rather dull, and loses much of
the atmosphere. lan was having a rough night, though it was
a humdinger from where we were stood. However a lot of this
fails to come across on the screen. French TV declined to show
it - though they did put it in their schedules. Instead they
showed an interview with the band, and a complete Space Truckin.
Much better quality than the Paris stuff, and more exciting.
It would seem to be from March 5th show in Providence, Rhode
Island, a gig filmed supposedly for an MTV documentary (which
has never been shown).
Dunbar Joins - News
Whitesnake have effectively had a year out as far as the concert
circuit has been concerned. Replacing Cozy was obviously difficult
(though for all ELP have done he might as well have stayed put!),
and in the end Aynsley Dunbar was recruited. This rather throws
David's ideal of young fresh talent out the window, as the guy
has had a long career in the rock business. He spent the early
70's working with Frank Zappa, and then did several albums with
Journey. Apart from this his session work covers people like
David Bowie, Jeff Beck, John Lennon, Lou Reed and many more.
once he had been offered the job, Whitesnake got on with recording
the new album which was done at the Little Mountain Studio in
Vancouver in late 1985. Don Airey joined for the recording as
we mentioned he might last issue. Originally titled Children
Of The Night, it now looks set to go out as Straight To The
Heart - c'mon, you can do better than that!
back to the top
& Black Sabbath - Album Review
really at a loss to know how the Phenomena project got as far
as it did, you'd think someone would have had the kindness to
point out just how dodgy it all was early on. The tunes aren't
all that bad, just aimless. Glenn's voice is one of the saving
graces, I don't think it has sounded better. Apart from the
music, the illustrations about which so much was made are really
laughable, though the sleeve design is quite classy. Not everyone
shares my pessimism about the disc:
of Fire' seems to contain steals from Whitesnake's 'Gambler'
but I like it a lot. 'Still The Night' is a good indication
of what the second Hughes Thrall LP might have sounded like
as it was written for that. 'Phoenix Rising' has a slow intro
with some of Glenn's best singing on the LP, but the chorus
lets it down, also true of 'Twilight Zone' where it gets a little
bland. Overall I can recommend the album to any Glenn Hughes
fan." Derek Rust
a story which came over from America via the gossip columns
which I refused to believe at first! Glenn Hughes joining Black
Sabbath? Surely not. And in a way it isn't quite what it seemed.
Glenn was due to do Tony lomml's solo album, something we knew
about. However in a shrewd move, lommi bought up the rights
to the name Black Sabbath, and is using that to launch himself.
He is set to hit the road in America in March 1986 with Glenn
fronting the band. Providing he keeps it together this time,
it could work out quite well for Glenn. I've not yet got the
Gary Moore album he contributed to, nor have we had a review,
so this will have to wait until next issue.
to the top
in the magazine...
Strangers tour reviews & photos : Knebworth, Continental Europe
& the US second leg ....
Tony Tacon (The Javelins) interview.....Perfect Strangers Tour Gig
List + bootleg LPs Listed & Reviewed.....
Deep Purple, The Anthology Reviewed.....Rainbow, Final Vinyl Reviewed....
Mk4 Rises Over Japan, video news.....
the video column.... Q&A.....and much more.
the magazine can
be purchased from the dpas
2003 DPAS/Darker Than Blue.
Not to be replicated, reproduced, stored and/or distributed in any
way without prior written permission