0:00:02 > 0:00:04This programme contains some strong language
0:00:04 > 0:00:07CHEERS AND APPLAUSE
0:00:07 > 0:00:10All I want to say to all of you is thank you very much, you've
0:00:10 > 0:00:15been great. Thank you for everything you've given us in Japan.
0:00:15 > 0:00:19And thank you, really, you're the representatives of the whole
0:00:19 > 0:00:21world, as far as we're concerned.
0:00:21 > 0:00:26Thank you and God bless you for everything you've ever given us.
0:00:26 > 0:00:29And this is the last night. The end.
0:00:29 > 0:00:32Thanks a lot.
0:00:32 > 0:00:35CHEERS AND APPLAUSE
0:00:39 > 0:00:43I didn't think Machine Head, at the time, was anything special.
0:00:43 > 0:00:48It was Made In Japan that threw it into the stratosphere.
0:00:48 > 0:00:50We did the same songs on stage
0:00:50 > 0:00:54and it seemed to take off that much bigger than Machine Head.
0:00:54 > 0:00:59It's a beautiful snapshot of the band in all its glory.
0:00:59 > 0:01:03Firing off each other, working it out, live on stage.
0:01:03 > 0:01:05On the night.
0:01:05 > 0:01:09And then people started to break down.
0:01:09 > 0:01:13'72, I think we made two albums, six US tours.
0:01:13 > 0:01:19Something happened. Ritchie and Ian Gillan agreed to disagree.
0:01:19 > 0:01:22I wrote a letter saying I was going to leave.
0:01:22 > 0:01:25No-one said anything, so I assumed they wanted me to leave.
0:01:25 > 0:01:27It was just pressure, pressure, pressure,
0:01:27 > 0:01:30and that's exactly why that split happened.
0:01:34 > 0:01:38# My woman from Tokyo
0:01:38 > 0:01:41# She makes me see
0:01:41 > 0:01:45# My woman from Tokyo
0:01:45 > 0:01:48# She's so good to me. #
0:02:01 > 0:02:07# When I was younger, so much younger than today... #
0:02:07 > 0:02:11We started in '68, Jon Lord and myself, and we put the band
0:02:11 > 0:02:16together, and I don't think we quite knew what direction that we had.
0:02:16 > 0:02:21We kind of...flim-flammed around in certain areas.
0:02:21 > 0:02:25I think the first album was a recording of everything we'd learnt.
0:02:25 > 0:02:29I don't think we had anything else. I think that was it.
0:02:29 > 0:02:33A couple of original bits and pieces and then quite a lot of covers.
0:02:33 > 0:02:38# Help me get my feet back on the ground... #
0:02:39 > 0:02:43The highs were the interaction that Ritchie, Jon and I found,
0:02:43 > 0:02:45musically
0:02:45 > 0:02:47and personally.
0:02:47 > 0:02:49We had a great time.
0:02:49 > 0:02:56The lows were...learning very quickly that the...balance
0:02:56 > 0:03:02of the band, personnel, couldn't go as far as it really needed to.
0:03:05 > 0:03:09As we were staggering into 1969, Ritchie and I, particularly,
0:03:09 > 0:03:13realised that the band was in danger of not being quite what we'd
0:03:13 > 0:03:16seen it as in our minds.
0:03:16 > 0:03:18It was going a little bit...pop.
0:03:21 > 0:03:27There we are, like, really searching for an identity
0:03:27 > 0:03:30and that search goes on pretty much through the first three albums.
0:03:30 > 0:03:33A friend of mine had a singer in his band, it was Ian Gillan.
0:03:33 > 0:03:36So we tried out Ian. He had the scream, he had the look,
0:03:36 > 0:03:40and that's why in 1970 we were on our way.
0:03:40 > 0:03:43Good morning. And how are you?
0:03:43 > 0:03:45# Good golly, said little Miss Molly
0:03:45 > 0:03:48# When she was rockin' in the house of blue light
0:03:48 > 0:03:50# Tutti frutti was oh so rooty... #
0:03:50 > 0:03:53Then, of course, In Rock came out and that became
0:03:53 > 0:03:58a phenomenon in the British charts, in the top ten for over a year.
0:03:58 > 0:04:02It hit a chord with the British youth and Europe.
0:04:02 > 0:04:04# I'm a speed king
0:04:04 > 0:04:07# You go to hear me sing... #
0:04:07 > 0:04:10When we saw what In Rock had done, it was a calling card.
0:04:10 > 0:04:12It said - this is Deep Purple.
0:04:12 > 0:04:14Everybody in the band was absolutely behind it
0:04:14 > 0:04:18and that lasted pretty much into the Machine Head era.
0:04:18 > 0:04:19# Saturday night and I just got paid
0:04:19 > 0:04:21# Gonna fool about, ain't gonna save
0:04:21 > 0:04:24# Some people gonna rock, some people gonna roll... #
0:04:24 > 0:04:26Deep Purple In Rock stayed in the charts for over a year.
0:04:26 > 0:04:28Big success to follow.
0:04:28 > 0:04:30I think there was a feeling of - what do we do next?
0:04:30 > 0:04:32How do we top that?
0:04:34 > 0:04:37# I don't care
0:04:37 > 0:04:40# What you think
0:04:40 > 0:04:45# I never heard you
0:04:45 > 0:04:48# I never heard you anyway... #
0:04:48 > 0:04:51Fireball, there was a kind of certain intimidation going on
0:04:51 > 0:04:55and by the time it was finished, I think we were a little tired.
0:04:56 > 0:05:01Fireball was lots of fun, but it was a little more introvert.
0:05:01 > 0:05:05And there's still some great tracks on it, but it didn't fire up
0:05:05 > 0:05:09the imagination of the public the way that In Rock did.
0:05:09 > 0:05:11# Oh...
0:05:11 > 0:05:14# Like a demon's eye. #
0:05:25 > 0:05:31Fireball, it's a troublesome...album because, to me,
0:05:31 > 0:05:35you couldn't have had Fireball without In Rock.
0:05:35 > 0:05:40But you couldn't have Machine Head without Fireball, so it sits
0:05:40 > 0:05:45very nicely as part of those three really...good rock albums.
0:05:49 > 0:05:53The success that In Rock and, not quite so much Fireball,
0:05:53 > 0:05:57gave us allowed us to say, "OK, the next time round, we're
0:05:57 > 0:06:01"going to get a situation where once we've got the sound, three weeks,
0:06:01 > 0:06:05"we've got the songs together, we just record them," you know?
0:06:05 > 0:06:08And that's what we did with Machine Head.
0:06:08 > 0:06:10Ha-ha.
0:06:11 > 0:06:14Yeah, let's go.
0:06:14 > 0:06:15# Oh, yeah...
0:06:15 > 0:06:17# Uh-uh... #
0:06:24 > 0:06:29Although we were wildly successful, Deep Purple In Rock
0:06:29 > 0:06:34and Fireball, we actually hadn't made much money
0:06:34 > 0:06:39because we were paying back the management for having funded
0:06:39 > 0:06:42the band for so many years.
0:06:42 > 0:06:46So despite all that success, you know, we needed to make some money.
0:06:58 > 0:07:01# Really hate the running
0:07:01 > 0:07:04# Really hate the game
0:07:04 > 0:07:09# Looking at them all, I want to be unborn again... #
0:07:09 > 0:07:12In 1971, the law changed.
0:07:12 > 0:07:17If a recording is done overseas, so long as the overseas derived
0:07:17 > 0:07:22income wasn't remitted into the UK, it wasn't taxed in the UK.
0:07:22 > 0:07:26What happened was that the boys had to become tax exiles.
0:07:26 > 0:07:31That is a process which saved a huge amount of money.
0:07:33 > 0:07:36We had an accountant at the time called Bill Reid,
0:07:36 > 0:07:40a brilliant guy, and he cooked up this scheme.
0:07:40 > 0:07:42He said, "Look, if you write songs and record them
0:07:42 > 0:07:45"outside of the country, you won't be taxed English tax,
0:07:45 > 0:07:49"you're only taxed on what you earn in England."
0:07:49 > 0:07:53And we travelled the Continent, so it wasn't a big problem for us
0:07:53 > 0:07:55to do that.
0:07:55 > 0:07:59We took specialist tax advice that in order for the boys to get
0:07:59 > 0:08:03the benefit of whatever they might do in the future, they would
0:08:03 > 0:08:08have to have an employment, as opposed to a partnership.
0:08:08 > 0:08:13As it was considered that their next album, which they had yet to record,
0:08:13 > 0:08:17or even write, was going to be the biggest that they would have had
0:08:17 > 0:08:20yet because of the rising success in album sales, that we
0:08:20 > 0:08:24would institute the employment regime by having a company
0:08:24 > 0:08:26which was an English company,
0:08:26 > 0:08:32but it employed the artists only for their overseas activities.
0:08:32 > 0:08:36And the next album which they did, which was Machine Head,
0:08:36 > 0:08:39made that a very wise decision.
0:08:39 > 0:08:43So we thought we'd record an album under studio conditions,
0:08:43 > 0:08:44but in a live venue.
0:08:49 > 0:08:54Claude Nobs was the instigator of us going to Switzerland
0:08:54 > 0:08:58and Claude said that he could set us up with something over there,
0:08:58 > 0:09:01which was the Casino, to record at the Casino.
0:10:13 > 0:10:16Under the new regime and under their employment contracts,
0:10:16 > 0:10:23they had to record overseas. The question then would be, where to go.
0:10:23 > 0:10:28And the band and Tony and Jon looked around and spoke to Claude Nobs,
0:10:28 > 0:10:31who was a promoter on the Continent.
0:10:31 > 0:10:35Claude Nobs, our friend from Montreux, he did the jazz festival.
0:10:35 > 0:10:38He said, "We've got tonnes of space here.
0:10:38 > 0:10:39You can do it, you can do it here.
0:10:39 > 0:10:43We'll find a place in the Casino, which is closed for the winter.
0:10:43 > 0:10:45Everyone knows the story.
0:11:04 > 0:11:08A little rock 'n' roll that we call Speed King.
0:11:23 > 0:11:25# Good golly, said little Miss Molly
0:11:25 > 0:11:30# When she was rockin' the house of blue light... #
0:11:35 > 0:11:39That was probably the best times of Purple back then
0:11:39 > 0:11:42and when we arranged to go to Switzerland to do this album,
0:11:42 > 0:11:45it was just a fantastic time, you know?
0:11:45 > 0:11:49Unfortunately, the Casino burned down,
0:11:49 > 0:11:51but out of that sprang the song, of course.
0:11:51 > 0:11:54Without that, there would have been no Smoke On The Water.
0:11:56 > 0:12:00Why did you go to Switzerland to record Machine Head?
0:12:00 > 0:12:06Several reasons. One being it's a great place to be, Montreux.
0:12:06 > 0:12:11We know a lot of people in Montreux. And it was a nice place to go.
0:12:11 > 0:12:15The second, because we used The Rolling Stones' mobile unit and that
0:12:15 > 0:12:20was in the South of France and it was easy to trundle it up to Switzerland.
0:12:20 > 0:12:28Um... And thirdly, money reasons, tax reasons. It's... It's...
0:12:30 > 0:12:35You can avoid paying some tax on your albums, on your royalties,
0:12:35 > 0:12:38if you've made the album out of the country.
0:12:38 > 0:12:40It's a very complicated deal, but it's not illegal.
0:12:40 > 0:12:44Tax people know about it, but it's just if you want to take
0:12:44 > 0:12:47advantage of it, you have to record outside the country.
0:12:47 > 0:12:49And also, we did it in two weeks,
0:12:49 > 0:12:52where normally we take three or four months over an album,
0:12:52 > 0:12:56on and off, but we just had a concentrated two weeks playing.
0:12:56 > 0:13:00We'd written all the songs and we just went in and recorded.
0:13:00 > 0:13:03The Casino in Montreux, Switzerland,
0:13:03 > 0:13:07if you were doing a tour of Europe, you'd play there.
0:13:07 > 0:13:11And the guy who was organising it, Claude Nobs, said, "Don't put
0:13:11 > 0:13:14"your gear in yet because there's one more show before you can do it.
0:13:14 > 0:13:18"It's a matinee tomorrow afternoon, Frank Zappa
0:13:18 > 0:13:21"And The Mothers. Three o'clock. Do you want to go?" "Sure."
0:13:21 > 0:13:25'Ladies and gentlemen...'
0:13:30 > 0:13:32And about an hour into the show,
0:13:32 > 0:13:35someone fired a flare gun into the ceiling, which was made of...
0:13:35 > 0:13:37It was like a false ceiling, bamboo.
0:13:37 > 0:13:41And there wasn't much of a fire at first, but things came to
0:13:41 > 0:13:47a halt and everyone was ordered to leave the building.
0:13:47 > 0:13:50And there was a little bit of a panic, but not bad.
0:13:50 > 0:13:52No-one was hurt, strangely enough.
0:13:52 > 0:13:58And literally within five minutes or so, the place was an inferno.
0:13:59 > 0:14:04GUITAR FEEDBACK
0:14:04 > 0:14:07Fire!
0:14:07 > 0:14:10Probably go towards the exit, ladies and gentlemen.
0:14:41 > 0:14:43The fire had started in the ceiling
0:14:43 > 0:14:46and it spread without anyone seeing it and it was a huge building,
0:14:46 > 0:14:48it wasn't just a casino, it was a venue,
0:14:48 > 0:14:52that's where we were watching Zappa, there was a disco there,
0:14:52 > 0:14:56bars, restaurants, a big casino, big convention facilities, so it was a
0:14:56 > 0:15:00massive building and it was a wooden building and, bang, it just went up.
0:15:15 > 0:15:18And the next morning, we went there and it was still smouldering.
0:15:18 > 0:15:20It's amazing that no-one got hurt.
0:15:29 > 0:15:32- FRANK ZAPPA:- We'd just started playing King Kong
0:15:32 > 0:15:36but we were playing and in that part of King Kong, I stop the band
0:15:36 > 0:15:41and so, obviously, there was a fire and a window in the back,
0:15:41 > 0:15:44a big window with maybe a 10 or 15-feet drop down.
0:15:44 > 0:15:49They broke that and people were jumping out and...
0:15:49 > 0:15:51So, everybody got out.
0:15:51 > 0:15:53And Claude, bless him, Claude was wonderful.
0:15:53 > 0:15:57There's a photograph of Claude in Machine Head taken as the fire
0:15:57 > 0:16:01was raging and he came by the hotel to see us and the look
0:16:01 > 0:16:04on his face is evident in that picture, it's a wonderful picture.
0:16:04 > 0:16:08I mean his future, his life was going up in flames and, bless him,
0:16:08 > 0:16:09he didn't think about that, he said,
0:16:09 > 0:16:12"I'm really worried about you, what are you going to do?"
0:16:12 > 0:16:13"We've got to find somewhere else."
0:16:13 > 0:16:18Montreux, then, it was a very small, sleepy town, very upper class.
0:16:18 > 0:16:21It was very quiet. I think there was one club, a couple of restaurants.
0:16:21 > 0:16:23It had a lot of tea shops,
0:16:23 > 0:16:25lots of little old ladies going out in the afternoon for tea
0:16:25 > 0:16:27and we're looking for somewhere where we can make
0:16:27 > 0:16:29a lot of noise in the middle of the night.
0:16:29 > 0:16:30That's a pretty tall order.
0:16:30 > 0:16:35Now, we only had a certain amount of time with the Stones' mobile.
0:16:35 > 0:16:38We started work in one place, which was a theatre in town.
0:16:38 > 0:16:43We did one track there and the police were hammering on the door,
0:16:43 > 0:16:47we actually did the track about one or two in the morning after
0:16:47 > 0:16:51spending all evening rehearsing and getting sounds and stuff so
0:16:51 > 0:16:57we obviously couldn't use that place and we got a little bit desperate.
0:16:57 > 0:16:58Well, it was chaos.
0:16:58 > 0:17:03I mean, from being beautifully organised and arranged -
0:17:03 > 0:17:07we would record here, the truck would be here, the hotel was there -
0:17:07 > 0:17:11all of a sudden, you've got nowhere to record cos it's a bunch of ashes.
0:17:11 > 0:17:13But you've still got the expense of the hotel, you've still got
0:17:13 > 0:17:17the truck there that's got to be paid, everybody's over there.
0:17:17 > 0:17:20What do you do? You find somewhere else to do it.
0:17:20 > 0:17:24We looked at barns, farms, hotel basements.
0:17:25 > 0:17:26Various places
0:17:26 > 0:17:32and I think it took about five or six days before we found the Grand Hotel,
0:17:32 > 0:17:36which was closed. It was winter, it was November.
0:17:36 > 0:17:38Machine Head to me was...
0:17:38 > 0:17:43I had realised how simple and easy it was to make a good record,
0:17:43 > 0:17:50um, without all the trappings, without the headaches.
0:17:50 > 0:17:55We made that record in three weeks and three days
0:17:55 > 0:18:00and it was great substance, great record and it was done, out.
0:18:00 > 0:18:03And, to me, that represented how a record should be made.
0:18:03 > 0:18:05Quick and to the point.
0:18:05 > 0:18:07SONG: Smoke On The Water
0:18:07 > 0:18:09# We all came out to Montreux
0:18:09 > 0:18:13# On the Lake Geneva shoreline
0:18:14 > 0:18:17# To make records with a mobile
0:18:19 > 0:18:23# We didn't have much time
0:18:23 > 0:18:26# Frank Zappa and the Mothers
0:18:26 > 0:18:30# Were at the best place around
0:18:31 > 0:18:35# But some stupid with a flare gun
0:18:35 > 0:18:39# Burned the place to the ground
0:18:39 > 0:18:44# Smoke on the water... #
0:18:44 > 0:18:48It's interesting the way a band looks at its material
0:18:48 > 0:18:50when it comes to singles.
0:18:52 > 0:18:55Because we weren't really...
0:18:55 > 0:18:57It goes without saying, we weren't really a singles band,
0:18:57 > 0:19:02it wasn't the kind of thing that we felt comfortable putting
0:19:02 > 0:19:07the material into single form, it didn't come easy to us.
0:19:09 > 0:19:13But we were writing well by that time and I honestly thought that
0:19:13 > 0:19:17we'd written a great single in Never Before.
0:19:17 > 0:19:18In fact, to the point that
0:19:18 > 0:19:24when we sent it across to Warner Bros in the States...we sent it
0:19:24 > 0:19:28with the indication that Never Before would be the single.
0:19:28 > 0:19:30It came back with the comment,
0:19:30 > 0:19:34"You must be joking. The hit is Smoke On The Water."
0:19:34 > 0:19:35To which we said,
0:19:35 > 0:19:38"You must be joking, the hit is Never Before."
0:19:38 > 0:19:44We honestly didn't think that Smoke On The Water was hit material.
0:19:47 > 0:19:48How wrong can you be?
0:19:48 > 0:19:51SONG: Never Before
0:19:51 > 0:19:53# Somebody
0:19:53 > 0:19:55# Somebody
0:19:55 > 0:19:56# Come to my side... #
0:19:56 > 0:19:59Machine Head, Deep Purple's new album,
0:19:59 > 0:20:01in your record shop now on Purple Records.
0:20:01 > 0:20:02Where else?
0:20:02 > 0:20:07Machine Head came out and it was a reasonable hit, people liked it.
0:20:07 > 0:20:11But it wasn't till Made In Japan came out that people actually
0:20:11 > 0:20:14absorbed it and registered that it was a good record.
0:20:14 > 0:20:18CHEERING AND APPLAUSE
0:20:20 > 0:20:23'We did the same songs on stage'
0:20:23 > 0:20:27and it seemed to take off that much bigger than Machine Head.
0:20:30 > 0:20:32It's nice to be here.
0:20:33 > 0:20:36We've had a nice time over the last few days,
0:20:36 > 0:20:39I hope you enjoy yourselves.
0:20:39 > 0:20:42If we could have a little bit more atmosphere on the lights,
0:20:42 > 0:20:43we'd appreciate it.
0:20:43 > 0:20:45'I didn't think Machine Head,
0:20:45 > 0:20:48'at the time, was anything more special than Fireball'
0:20:48 > 0:20:50or In Rock.
0:20:51 > 0:20:56And in fact, it wasn't really until we did Made In Japan,
0:20:56 > 0:20:59the live album, that it really came to life.
0:20:59 > 0:21:00Yeah, it was a big hit
0:21:00 > 0:21:05but it was Made In Japan that threw it into the stratosphere.
0:21:05 > 0:21:08SONG: Highway Star
0:21:13 > 0:21:14All right.
0:21:17 > 0:21:20This is a song called Highway Star, this one.
0:21:20 > 0:21:26Made In Japan started as an idea from the Japanese record company.
0:21:26 > 0:21:30They said, "We want a live album, Japan only."
0:21:30 > 0:21:34We hated the thought of live albums, strangely,
0:21:34 > 0:21:36for a band that was so good live.
0:21:38 > 0:21:41We just thought, "Maybe not."
0:21:41 > 0:21:45So, we said, "Only if it only ever comes out in Japan."
0:21:45 > 0:21:46Thus the title.
0:21:48 > 0:21:50# Nobody gonna take my car
0:21:50 > 0:21:52# I'm gonna race it to the ground
0:21:53 > 0:21:55# Nobody gonna beat my car
0:21:55 > 0:21:57# It's gonna break the speed of sound
0:21:59 > 0:22:01# Ooh, it's a killing machine
0:22:01 > 0:22:04# It's got everything
0:22:04 > 0:22:06# Like a driving power
0:22:06 > 0:22:09# Big fat tyres and everything
0:22:09 > 0:22:10# I love it
0:22:10 > 0:22:11# And I need it
0:22:11 > 0:22:12# I bleed it
0:22:14 > 0:22:16# Yeah, she turns me on
0:22:16 > 0:22:17# Alright
0:22:17 > 0:22:19# Hold tight
0:22:19 > 0:22:23# I'm a highway star... #
0:22:23 > 0:22:26Made In Japan, of course, as a title was a joke
0:22:26 > 0:22:31because in England in the '50s, '60s, '70s,
0:22:31 > 0:22:33if something was said to be "made in Japan",
0:22:33 > 0:22:37it was almost like it was second-rate so, to us, it was like,
0:22:37 > 0:22:38"Oh, yes, just made in Japan,"
0:22:38 > 0:22:41and it would only ever come out in Japan.
0:22:43 > 0:22:44And we eventually heard it
0:22:44 > 0:22:47and realised that we had something rather wonderful.
0:22:47 > 0:22:49# I love her
0:22:49 > 0:22:50# And I need her
0:22:50 > 0:22:51# I seed her
0:22:53 > 0:22:55# Yeah, she turns me on
0:22:55 > 0:22:56# Alright... #
0:22:56 > 0:22:58Back in the early '70s...
0:22:59 > 0:23:03..live albums were viewed as sort of budget albums.
0:23:05 > 0:23:08They were viewed as if you had nothing better to do.
0:23:08 > 0:23:13They were...not considered a proper album.
0:23:13 > 0:23:15Studio albums were proper albums.
0:23:15 > 0:23:17Live albums were things you did on the side.
0:23:17 > 0:23:19We were kind of wary of doing that
0:23:19 > 0:23:23because we'd been a pretty heavily bootlegged band
0:23:23 > 0:23:24for a couple of years.
0:23:49 > 0:23:52There was a Japanese record company that wanted to record the live album.
0:23:52 > 0:23:55We said, "No, we're not doing that."
0:23:56 > 0:23:58They kept on insisting. We said,
0:23:58 > 0:24:00"OK, we'll do it in certain conditions.
0:24:00 > 0:24:03"A - it only comes out in Japan.
0:24:03 > 0:24:06"B - it doesn't come out at all if we don't like it.
0:24:06 > 0:24:10"And C - we mix it and have our own engineer record it."
0:24:16 > 0:24:19Excellent musicians. What can you say about them?
0:24:20 > 0:24:22They were the best at what they did,
0:24:22 > 0:24:24without a shadow of a doubt.
0:24:24 > 0:24:26I think they influenced a lot of groups over the years.
0:24:30 > 0:24:34You know, I went to my first Deep Purple concert in 1973.
0:24:34 > 0:24:39February, 1973. It blew my mind. I'd never seen energy at that level.
0:24:39 > 0:24:42I'd never seen performance, I'd never seen personality,
0:24:42 > 0:24:45like, it was the biggest thing I'd ever seen.
0:24:45 > 0:24:47When I was growing up as a kid, I grew up in California,
0:24:47 > 0:24:53but the first album that I really got into was Made In Japan.
0:24:53 > 0:24:55Which was a double live album.
0:24:55 > 0:25:00In the States, Made In Japan was probably one of the highlights.
0:25:00 > 0:25:08All the hits that came through America were the ones that we got.
0:25:08 > 0:25:11That was another brilliant album that was recorded under
0:25:11 > 0:25:16really strange and extreme conditions, you know?
0:25:16 > 0:25:18I remember Martin Birch was out.
0:25:18 > 0:25:21We put the control room backstage,
0:25:21 > 0:25:25so he had no physical eye contact with the band.
0:25:25 > 0:25:30It was all just listening. We found that really strange.
0:25:30 > 0:25:31But that turned out...
0:25:33 > 0:25:35..fantastic, for the time. Brilliant album.
0:26:26 > 0:26:30Maybe Ritchie and Ian weren't getting on well off stage,
0:26:30 > 0:26:34but on stage there was still a massive important
0:26:34 > 0:26:36amount of chemistry.
0:26:36 > 0:26:38# Nobody gonna take my car
0:26:38 > 0:26:41# It's gonna break the speed of sound
0:26:41 > 0:26:43# Ooh, it's killing machine
0:26:43 > 0:26:47# It's got everything
0:26:47 > 0:26:48# Like a driving power
0:26:48 > 0:26:51# Big fat tyres and everything
0:26:51 > 0:26:52# I love her
0:26:52 > 0:26:53# And I need her
0:26:53 > 0:26:55# I seed her
0:26:56 > 0:26:58# Yeah, she turns me on
0:26:58 > 0:27:00# All right, hold on tight
0:27:00 > 0:27:04# I'm a highway star
0:27:04 > 0:27:07# I'm a highway star
0:27:07 > 0:27:11# I'm a highway star
0:27:13 > 0:27:16# Yes, I am
0:27:20 > 0:27:22# Oh, yeah! #
0:27:25 > 0:27:28I never saw either Zeppelin or Purple when I was a kid,
0:27:28 > 0:27:31when they were in their heyday when they were all firing away.
0:27:31 > 0:27:33I never saw Purple or Zeppelin.
0:27:33 > 0:27:38So all I had to go on was their respective live things.
0:27:40 > 0:27:43On that score, Purple kicked their pants.
0:27:43 > 0:27:47I think that Made In Japan might be really, for a lot of people,
0:27:47 > 0:27:52the quintessential Deep Purple record, especially from that time.
0:27:52 > 0:27:55One of the greatest, if not the greatest live album ever recorded.
0:27:55 > 0:27:59Of course, Martin Birch who worked with Purple
0:27:59 > 0:28:05on just about everything, was our producer in Maiden for many years.
0:28:05 > 0:28:08So you'd sit down over a few beers and talk to Martin
0:28:08 > 0:28:11and you'd get the lowdown. You'd think, "Wow, it really was live.
0:28:11 > 0:28:14"There were no overdubs. It was as was."
0:28:14 > 0:28:17That's what makes it even more incredible,
0:28:17 > 0:28:19it was done in eight track or something.
0:28:19 > 0:28:20Come on, now.
0:28:20 > 0:28:23Everybody, shake your hands like this.
0:28:23 > 0:28:25That's nice. Come on, now.
0:28:25 > 0:28:26Everybody!
0:28:26 > 0:28:29# Ah. #
0:28:29 > 0:28:31Come on, now. Clap your hands.
0:28:31 > 0:28:32RHYTHMIC CLAPPING
0:28:34 > 0:28:36I want everybody to clap their hands.
0:28:37 > 0:28:38Really loud, now.
0:28:45 > 0:28:49Every single live version, every single recording is different,
0:28:49 > 0:28:54so if you hear three nights in Japan
0:28:54 > 0:28:57in August '72, Strange Kind Of Woman,
0:28:57 > 0:29:00Child Of Time, whatever, they're all different from each other.
0:29:00 > 0:29:03Ritchie plays different solos, Ian sings different phrases,
0:29:03 > 0:29:06Ian Paice plays different drum fills.
0:29:06 > 0:29:10It's the coolest thing cos you never know exactly what's coming next.
0:29:10 > 0:29:11SONG: Space Truckin'
0:29:11 > 0:29:15# Well, we had a lot of luck on Venus
0:29:15 > 0:29:19# We always had a ball on Mars
0:29:19 > 0:29:22# We meeting all the groovy people
0:29:22 > 0:29:26# We've rocked the Milky Way so far
0:29:26 > 0:29:29# We rocked around with Borealice
0:29:29 > 0:29:32# We're space truckin' round the stars
0:29:34 > 0:29:36# Come on
0:29:36 > 0:29:37# Come on
0:29:37 > 0:29:39# Come on
0:29:39 > 0:29:41# Let's go, space truckin'
0:29:41 > 0:29:43# Come on
0:29:43 > 0:29:44# Come on
0:29:44 > 0:29:45# Come on
0:29:45 > 0:29:47# Yeah, yeah, yeah... #
0:29:49 > 0:29:53I think Made In Japan is possibly
0:29:53 > 0:29:56one of the greatest live rock albums ever made.
0:29:56 > 0:29:58I'll tell you why.
0:29:58 > 0:30:02Firstly, because there was nothing like it that ever came out before.
0:30:02 > 0:30:07Secondly, it showed you the difference between a band
0:30:07 > 0:30:09in the studio and a band live.
0:30:10 > 0:30:11# Come on
0:30:11 > 0:30:13# Come on
0:30:13 > 0:30:14# Come on
0:30:14 > 0:30:16# Let's go space truckin'
0:30:16 > 0:30:18# Come on
0:30:18 > 0:30:20# Come on
0:30:20 > 0:30:21# Come on... #
0:30:25 > 0:30:27We recorded three shows.
0:30:28 > 0:30:32By that time the anarchy that was happening on stage
0:30:32 > 0:30:34had coalesced into certain...
0:30:34 > 0:30:38You do something on stage as an adlib.
0:30:38 > 0:30:42If it works, you tend to do it another night.
0:30:42 > 0:30:47So all these little bits and pieces of punctuation between the songs
0:30:47 > 0:30:50and during the songs were becoming second nature to us.
0:30:55 > 0:30:56# Come on
0:30:56 > 0:30:58# Come on
0:30:58 > 0:30:59# Come on... #
0:31:01 > 0:31:06To me, that is one of the most missed things in rock 'n' roll -
0:31:06 > 0:31:10the thing that it's about a moment up on stage.
0:31:10 > 0:31:13You don't know where it's going next.
0:31:13 > 0:31:16The interplay between Ritchie and Gillan, for example.
0:31:16 > 0:31:18Guitar, voice, guitar, voice, that kind of thing.
0:31:18 > 0:31:20then the Jon and Ritchie thing.
0:31:23 > 0:31:27It was just pure good fortune that really
0:31:27 > 0:31:32we recorded that album at really the peak of our performing abilities.
0:31:33 > 0:31:37Ritchie would solo until he didn't want to solo any more.
0:31:37 > 0:31:40If you know what to look for, he'd turn around,
0:31:40 > 0:31:41he'd raise his right hand.
0:31:41 > 0:31:44He'd look over at Ian Paice and then, within two or four bars,
0:31:44 > 0:31:46he'd go into the next part.
0:31:49 > 0:31:53A band on fire, I would say. A band absolutely at the top of its game.
0:31:53 > 0:31:55That's why I loved that album.
0:31:56 > 0:32:03It's a beautiful snapshot of the band in all its glory playing live,
0:32:03 > 0:32:07firing off each other, listening to each other,
0:32:07 > 0:32:11working it out live on stage, on the night.
0:32:11 > 0:32:15It wasn't really until we got back to England and put the tapes on...
0:32:17 > 0:32:19Wow.
0:32:19 > 0:32:20They sound great.
0:32:22 > 0:32:23Maybe this should be out.
0:32:24 > 0:32:27By that time, the American label, Warner Brothers,
0:32:27 > 0:32:29weren't interested in a live album.
0:32:30 > 0:32:33They wanted the next studio album which was, Who Do We Think We Are.
0:32:37 > 0:32:39Back then you don't think you're going to last very long.
0:32:39 > 0:32:42You think you're only as good as your last record.
0:32:42 > 0:32:46If you're lucky, you can get another couple of years out of it
0:32:46 > 0:32:48and then, who knows what?
0:32:51 > 0:32:53# Yeah, yeah, yeah, yeah, yeah... #
0:32:58 > 0:33:02One of the great Purple classics is on Who Do We Think We Are -
0:33:02 > 0:33:04Woman From Tokyo.
0:33:04 > 0:33:07It's made under very difficult circumstances.
0:33:10 > 0:33:13We had In Rock then we had Fireball then Machine Head.
0:33:13 > 0:33:15Then we had Who Do We Think We Are.
0:33:15 > 0:33:17Again, a little more introvert.
0:33:17 > 0:33:19A lot more difficult to record,
0:33:19 > 0:33:22which I think is probably the problem with Who Do We Think We Are.
0:33:22 > 0:33:27We were in a villa just outside Rome, which had been chosen for us
0:33:27 > 0:33:32to record in because it had a wonderful room to record.
0:33:32 > 0:33:35What they hadn't done was measure the size of an archway
0:33:35 > 0:33:38through which the mobile unit would have had to have gone
0:33:38 > 0:33:43to make it nice and easy. The mobile unit wouldn't fit under the archway.
0:33:43 > 0:33:47So cables had to be brought in specially. Special long cables.
0:33:47 > 0:33:50We staggered through, we got an album out of it.
0:34:03 > 0:34:07Made In Japan was really the Machine Head record.
0:34:07 > 0:34:10If we waited till after Who Do We Think We Are,
0:34:10 > 0:34:11it would have been out of date,
0:34:11 > 0:34:13so we really wanted to put it out there.
0:34:20 > 0:34:22Which they eventually did, but only
0:34:22 > 0:34:27because our management started importing copies into the States.
0:34:27 > 0:34:30Warner Brothers realised that they were losing out.
0:35:11 > 0:35:14Who Do We Think We Are. I think on that album... It wasn't that good.
0:35:14 > 0:35:16It started off OK.
0:35:18 > 0:35:21But there were cracks showing a little bit.
0:35:21 > 0:35:24I think Ritchie and Ian weren't getting on too well.
0:35:27 > 0:35:31I don't know why...that happened.
0:35:31 > 0:35:33But, yeah, the cracks were starting to appear.
0:35:33 > 0:35:39Somewhere between Fireball and Who Do We Think We Are,
0:35:39 > 0:35:42going through the Machine Head period,
0:35:42 > 0:35:47Ritchie and Ian Gillan agreed to disagree.
0:35:49 > 0:35:52Something happened. I'm not sure what it was.
0:35:52 > 0:35:59I'm not sure, actually, that either of them could now iterate exactly
0:35:59 > 0:36:03what it was that went down between the two of them, but something did.
0:36:14 > 0:36:18We'd done about as much as we could do with that kind of rock,
0:36:18 > 0:36:20as far as I could see.
0:36:21 > 0:36:24My idea was that there was far too much talent in the band
0:36:24 > 0:36:27for it to remain static.
0:36:27 > 0:36:30I thought we were compromising ourselves.
0:36:30 > 0:36:33I thought we were losing our integrity.
0:36:33 > 0:36:37My decision to leave the band was in '72.
0:36:37 > 0:36:42Confused, young, unfocused, frustrated.
0:36:42 > 0:36:45The thing that a lot of people forget is that he was not fired.
0:36:45 > 0:36:46He left.
0:36:46 > 0:36:52He wrote us a letter saying that he no longer agreed with
0:36:52 > 0:36:55the direction that the band was taking.
0:36:55 > 0:36:57I do have to say this -
0:36:57 > 0:37:01that I think that if our management had understood
0:37:01 > 0:37:03that it was actually a cry for help
0:37:03 > 0:37:06that he would not have been out of the band.
0:37:06 > 0:37:10Something had been thrown into the pot to change the formula.
0:37:10 > 0:37:12I don't know what it was,
0:37:12 > 0:37:17but it seemed to be not the Deep Purple that I'd joined in '69.
0:37:17 > 0:37:20It's not the band it was. You suddenly think, well, I don't know.
0:37:20 > 0:37:23I've always made my decisions on the basis
0:37:23 > 0:37:26of I've got to be enjoying what I'm doing.
0:37:26 > 0:37:29I didn't know how to fix it, so I thought I'd quit.
0:37:29 > 0:37:33Broke my heart at the time. Didn't want that to happen one bit.
0:37:33 > 0:37:35I was...
0:37:35 > 0:37:39Even through the difficulties with Ritchie and Gillan...
0:37:39 > 0:37:42I still thought we had a marvellous band.
0:37:42 > 0:37:44Ladies and gentlemen, Deep Purple.
0:37:44 > 0:37:45CHEERING
0:37:55 > 0:37:57- ROGER:- In the band, it was widely presumed
0:37:57 > 0:37:58that Ritchie was going to leave
0:37:58 > 0:38:01and take Paicey with him.
0:38:01 > 0:38:03Gillan had written his letter of resignation...
0:38:05 > 0:38:06..which left Jon and I.
0:38:10 > 0:38:11Ritchie is one of these guys,
0:38:11 > 0:38:14I think he's always looking for something new.
0:38:14 > 0:38:18Unbeknownst to us, he'd been secretly jamming
0:38:18 > 0:38:21with Phil Lynott from Thin Lizzy.
0:38:21 > 0:38:23He wanted to do a three piece, I think.
0:38:27 > 0:38:32I wanted to form a band with Phil Lynott from Thin Lizzy.
0:38:32 > 0:38:36I said to Ian Paice, "Let's have a three piece
0:38:36 > 0:38:41"and we'll play some kind of Hendrix blues stuff."
0:38:42 > 0:38:43BLUES SOLO
0:39:00 > 0:39:02Our two managers, Tony Edwards and John Coletta,
0:39:02 > 0:39:08summoned Jon and I to a restaurant one night in London and said,
0:39:08 > 0:39:10"This is crazy.
0:39:10 > 0:39:11"The band's breaking up
0:39:11 > 0:39:15"and you're the biggest band in the world right now.
0:39:16 > 0:39:18"Maybe you can persuade Paicey to stay with you,
0:39:18 > 0:39:22"and we'll get a new lead singer and a new guitarist and carry on."
0:39:23 > 0:39:27As painful as that was to understand, why not?
0:39:27 > 0:39:31We said, "Yeah, let's do that."
0:39:31 > 0:39:35Our first job, Jon and I, was to talk Paicey into staying.
0:39:35 > 0:39:40At that point, Ian was involved.
0:39:40 > 0:39:42He said, "You know what?
0:39:42 > 0:39:46What would you want to stay in Deep Purple,
0:39:46 > 0:39:49Ian's leaving, what's the problem with the band?
0:39:49 > 0:39:52Why won't you stay with Purple?
0:39:52 > 0:39:55I said, "Well, OK.
0:39:55 > 0:39:58"I would expect Roger maybe to leave
0:39:58 > 0:40:02"because I wasn't particularly into what he was doing."
0:40:02 > 0:40:06I said, "But that's not fair, because Roger's done nothing wrong.
0:40:06 > 0:40:07"I'd rather leave the band,
0:40:07 > 0:40:13"get another thing going than fire somebody who's done nothing wrong."
0:40:13 > 0:40:14The following...
0:40:14 > 0:40:18I think in January, '73, with the Scandinavian tour,
0:40:18 > 0:40:21we got Paicey in the dressing room afterwards and said,
0:40:21 > 0:40:25"Look, stick with us, we'll get a new guitarist, a new singer."
0:40:25 > 0:40:26He said he'd think about it.
0:40:26 > 0:40:29You have to remember, I was very much a kid then.
0:40:29 > 0:40:32I was a kid in a candy store. My life was one big party.
0:40:32 > 0:40:35I really didn't worry about what was going to happen the next day,
0:40:35 > 0:40:36the next gig.
0:40:36 > 0:40:40That sort of responsibility was taken on by Ritchie and Jon,
0:40:40 > 0:40:44who were a little further along life's highway than I was.
0:40:44 > 0:40:48We did a Japanese tour. Then two American tours.
0:40:51 > 0:40:54It was on the second American tour that I realised...
0:40:56 > 0:40:58..that no-one was talking to me.
0:40:58 > 0:40:59# Ah
0:40:59 > 0:41:02# Ah-ah-ah-ah-ah-ah
0:41:02 > 0:41:04# Ah-ah-ah-ah-ah-ah
0:41:04 > 0:41:05# Ah-ah
0:41:09 > 0:41:11# On my soul
0:41:12 > 0:41:15# I love you
0:41:15 > 0:41:18# Yeah
0:41:18 > 0:41:20# Ow
0:41:22 > 0:41:24# Ah. #
0:41:25 > 0:41:27CHEERING
0:41:28 > 0:41:31Ian said, "OK, we'll fire Roger if you're going to stay."
0:41:32 > 0:41:35And I... I felt really awkward.
0:41:35 > 0:41:37I said, "Em...OK."
0:41:38 > 0:41:42It was a kind of weird feeling. I was kind of out in the cold.
0:41:43 > 0:41:46I couldn't put my finger on what was going on.
0:41:46 > 0:41:47We were in Jacksonville, Florida.
0:41:49 > 0:41:51Came back to the motel we were staying in.
0:41:51 > 0:41:54I knocked on Tony Edwards' door, our manager at the time.
0:41:54 > 0:41:57He said, "What do you want?" I said, "What's going on?"
0:41:57 > 0:41:59He said, "Nothing."
0:41:59 > 0:42:01I said, "Something's going on."
0:42:01 > 0:42:02He said, "No, no, no, no.
0:42:02 > 0:42:04"Nothing's going on."
0:42:04 > 0:42:08I said, "Well, I'm not leaving this room until you level with me."
0:42:08 > 0:42:10He said, "OK. They want you to leave the band."
0:42:14 > 0:42:17"Why?" He said, "I don't know, that's the way it is.
0:42:17 > 0:42:21"Ritchie's decided he'll stay with the band on the condition
0:42:21 > 0:42:22"that you leave."
0:42:26 > 0:42:28Pretty hurtful thing to hear.
0:42:28 > 0:42:30SONG: Child In Time
0:42:31 > 0:42:33# Sweet child in time
0:42:35 > 0:42:37# You'll see the line
0:42:38 > 0:42:40# The line that's drawn between
0:42:42 > 0:42:45# The good and the bad... #
0:42:45 > 0:42:47Maybe I did the wrong thing, but I said,
0:42:47 > 0:42:49"Well, you're not going to fire me.
0:42:51 > 0:42:54"I'll keep my dignity and I'll leave of my own accord.
0:42:54 > 0:42:57"Why didn't anyone tell me this before?"
0:42:57 > 0:42:59They said, "Because we wanted to finish the tour.
0:42:59 > 0:43:03"We didn't want you leaving in the middle of a tour."
0:43:03 > 0:43:08I thought, "Fuck them. I'll fulfil my duty. I'll be the gentleman here.
0:43:08 > 0:43:10"I'll fulfil my duties, and then I'm gone."
0:43:11 > 0:43:13So the rest of that tour...
0:43:13 > 0:43:16Actually, it was the Japanese tour was the last one.
0:43:17 > 0:43:20I remember squaring with Jon Lord on the flight to Tokyo...
0:43:22 > 0:43:24..he was pretty embarrassed and upset.
0:43:25 > 0:43:28He said, "Well, sorry, mate, that's the way it is."
0:43:28 > 0:43:32I felt really let down, actually by Jon and Paicey in particular.
0:43:32 > 0:43:34More than Ritchie, strangely enough.
0:43:37 > 0:43:40Ritchie had always been on his own course anyway.
0:43:43 > 0:43:45Ritchie said to me on the final night...
0:43:47 > 0:43:50We passed on the stairs leading up to the dressing rooms,
0:43:50 > 0:43:55he said, "Just want to say it's not personal, it's business."
0:43:56 > 0:43:57Then he carried on.
0:43:59 > 0:44:01# Whoa-oh
0:44:01 > 0:44:05# Ah
0:44:05 > 0:44:09# Ah
0:44:09 > 0:44:11# Ah
0:44:11 > 0:44:16# Ah, I wanna hear you sing... #
0:44:16 > 0:44:18Roger was let go and I stayed with the band.
0:44:18 > 0:44:21We got in another bass player and another singer.
0:44:22 > 0:44:26I wanted to go more toward the melodic content area,
0:44:26 > 0:44:28which is what I'm doing now as well.
0:44:30 > 0:44:33# Ah
0:44:33 > 0:44:37# Ah
0:44:37 > 0:44:40# Ah
0:44:40 > 0:44:42# Oh-oh-ooh
0:44:42 > 0:44:44# Yeah, yeah... #
0:44:44 > 0:44:47It was like late '72 or even middle of '72...
0:44:49 > 0:44:52Trapeze were playing at the Whisky a Go Go,
0:44:52 > 0:44:54three nights or four nights.
0:44:54 > 0:44:59I noticed, in the audience, Jon Lord was there one night,
0:44:59 > 0:45:01Ian Paice was there,
0:45:01 > 0:45:03Ritchie was there, like, separately.
0:45:03 > 0:45:07And I just figured these guys were really good fans of Trapeze,
0:45:07 > 0:45:09or they were becoming fans of Trapeze -
0:45:09 > 0:45:12very vulnerable and naive back then.
0:45:12 > 0:45:14And, eh...
0:45:14 > 0:45:16Same thing happened in The Marquee in London,
0:45:16 > 0:45:20and you know...they each came a couple of times,
0:45:20 > 0:45:22and...you know...
0:45:22 > 0:45:28And then, you know, I had a feeling they were there for another reason.
0:45:28 > 0:45:30I just didn't realise that, at that moment,
0:45:30 > 0:45:32they were going to ask me to join.
0:45:38 > 0:45:41We'd all drifted apart, personally.
0:45:41 > 0:45:44When there were no girlfriends, everyone would,
0:45:44 > 0:45:47um...travel together.
0:45:47 > 0:45:50Gradually - I was probably the worst culprit.
0:45:50 > 0:45:52There's no finger-pointing here,
0:45:52 > 0:45:54or anyone to blame or anything like that,
0:45:54 > 0:45:56except maybe me.
0:45:56 > 0:46:00It was...me as much as anyone, or probably more.
0:46:00 > 0:46:03But the personal touch had gone.
0:46:04 > 0:46:06So I didn't really know that Roger was leaving
0:46:06 > 0:46:10until it had happened, on the plane home.
0:46:12 > 0:46:15I mean, I was very pleased with the music, it was good.
0:46:15 > 0:46:17I was not in any way ashamed of it.
0:46:17 > 0:46:21But I thought there was a time to add a new dimension to it
0:46:21 > 0:46:23or to adopt a slightly different approach,
0:46:23 > 0:46:25without losing our identity,
0:46:25 > 0:46:27but just naturally progress it.
0:46:27 > 0:46:29Otherwise, we'd have faded away.
0:46:29 > 0:46:31This is why I...
0:46:31 > 0:46:34Nobody really wanted to do that, so that's why we left.
0:46:36 > 0:46:38I mean, I left in, what, June?
0:46:38 > 0:46:44And I think it was July or August that Billboard announced
0:46:44 > 0:46:47the number one selling artists -
0:46:47 > 0:46:50we had two awards, number one band and number one album.
0:46:52 > 0:46:55And, uh...I was in the office one day
0:46:55 > 0:46:58and I saw the billboard with the announcement and I looked at it -
0:46:58 > 0:47:02a huge, great photograph showing Coverdale and Hughes.
0:47:02 > 0:47:06And I just went, "That's...that's really the icing on the cake.
0:47:06 > 0:47:10"That...that was my success.
0:47:10 > 0:47:12"And not only have I been kicked out of the band,
0:47:12 > 0:47:14"but that's been taken away from me as well."
0:47:14 > 0:47:17I got...we all got watches with "Mark II" on it.
0:47:17 > 0:47:18And I'm going, "Well, this is nice,
0:47:18 > 0:47:20"but this surely should be Roger's watch."
0:47:20 > 0:47:23I was getting plaques, I think I got a couple of plaques
0:47:23 > 0:47:26from Who Do You Think We Are?
0:47:26 > 0:47:28However, I was mature enough to realise
0:47:28 > 0:47:31that it wasn't Coverdale's fault or Glenn Hughes' fault
0:47:31 > 0:47:34any more than it was my fault when they got in Nick Simper.
0:47:34 > 0:47:37It wasn't really uncomfortable. It was just the way it was, you know?
0:47:37 > 0:47:42There was no point in holding grudges like that.
0:47:42 > 0:47:43I think, em...
0:47:44 > 0:47:47..Ian's timing,
0:47:47 > 0:47:51Ian Gillan's timing about leaving the band was terrible.
0:47:51 > 0:47:54I mean, the band was just on the edge
0:47:54 > 0:47:56of becoming absolutely massive.
0:47:56 > 0:47:57Um...
0:47:57 > 0:47:59And, indeed...
0:48:02 > 0:48:05..Burn, as an album, actually did take advantage of that
0:48:05 > 0:48:08because it's a tremendously good album, um...
0:48:09 > 0:48:13..and the band did take that leap into stadium rock.
0:48:13 > 0:48:15HE PLAYS GUITAR SOLO
0:48:56 > 0:48:58The year before Ian left, we did six American tours.
0:48:58 > 0:49:00It was ridiculous.
0:49:00 > 0:49:02And when Ian did quit, I really thought that was the end of it.
0:49:02 > 0:49:05And then one of our managers, John Coletta,
0:49:05 > 0:49:06showed me a copy of Billboard.
0:49:06 > 0:49:10We had 11 different entries - singles, albums, back albums.
0:49:10 > 0:49:13It was exploding. And that year, 1973,
0:49:13 > 0:49:16we were the top album-selling artists in the United States.
0:49:16 > 0:49:18And he said, "You can't stop now."
0:49:18 > 0:49:21I said, "We just did! We lost our singer and our bass player.
0:49:21 > 0:49:23"How much more final can that be?"
0:49:23 > 0:49:25He said, "Replace them."
0:49:25 > 0:49:28What I'd like to say to all of you is thank you very much,
0:49:28 > 0:49:29you've been great.
0:49:29 > 0:49:33Thank you for everything you've given us in Japan
0:49:33 > 0:49:38and...this is the last night. The end.
0:49:38 > 0:49:40God bless you, thanks a lot.
0:49:40 > 0:49:43CHEERING AND CLAPPING
0:49:53 > 0:49:58One of the reasons Made In Japan is so successful and still sells -
0:49:58 > 0:50:04people still rate it as one of the great live albums, rock albums -
0:50:04 > 0:50:07one of the reasons for that is the brilliance of our producer,
0:50:07 > 0:50:09of Martin Birch.
0:50:09 > 0:50:13Absolutely...under incredibly difficult conditions,
0:50:13 > 0:50:15to produce that.
0:50:15 > 0:50:17Um, no, I think we'd like to try it with the track again.
0:50:17 > 0:50:18What do you think?
0:50:18 > 0:50:20LAUGHTER
0:50:20 > 0:50:23Because Made In Japan had come out so well,
0:50:23 > 0:50:25I think it's regarded by a lot of people
0:50:25 > 0:50:28as a great live album at that point.
0:50:28 > 0:50:32Um...I think it actually enhanced the album Machine Head,
0:50:32 > 0:50:35because it was virtually Machine Head live on stage.
0:50:35 > 0:50:39I look back now only at...it did, it exploded.
0:50:39 > 0:50:43And it was after Ian Gillan actually left
0:50:43 > 0:50:46in...'73, I guess, um...
0:50:48 > 0:50:54..that we became aware of the two versions of Smoke On The Water,
0:50:54 > 0:50:57both in the America top ten at the same time.
0:50:57 > 0:50:59I heard the live version of Smoke On The Water
0:50:59 > 0:51:04in the car, one day, and...yeah...
0:51:04 > 0:51:05# Din-din-din... #
0:51:05 > 0:51:07Live version.
0:51:07 > 0:51:11And Paicey starts and Jon starts and the bass came in
0:51:11 > 0:51:13and I thought, "Wow!"
0:51:13 > 0:51:17And I suddenly felt very proud of that.
0:51:17 > 0:51:20As simple as it is, it was exactly what was needed.
0:51:20 > 0:51:24HE PLAYS GUITAR RIFF FROM "SMOKE ON THE WATER"
0:51:24 > 0:51:26Um...
0:51:35 > 0:51:38I originally wrote it like that, with a kind of...
0:51:38 > 0:51:40HE PLAYS VARIATION ON TUNE
0:51:40 > 0:51:41..with a kind of...
0:51:44 > 0:51:47That didn't, kind of, go down with the others at the time,
0:51:47 > 0:51:48so we kept it to the...
0:51:48 > 0:51:50HE PLAYS ORIGINAL RIFF AGAIN
0:51:52 > 0:51:53CHEERING AND APPLAUSE
0:51:53 > 0:51:54All right, thank you.
0:52:04 > 0:52:07HE PLAYS OPENING BARS OF "GOD SAVE THE QUEEN"
0:52:11 > 0:52:14SONG: Smoke On The Water
0:52:14 > 0:52:16CHEERING AND CLAPPING
0:53:01 > 0:53:05# We all came out to Montreux
0:53:05 > 0:53:08# On the Lake Geneva shoreline
0:53:09 > 0:53:12# To make records with a mobile
0:53:15 > 0:53:18# We didn't have much time
0:53:18 > 0:53:21# Frank Zappa and the Mothers
0:53:21 > 0:53:25# Were at the best place around
0:53:26 > 0:53:29# But some stupid with a flare gun
0:53:30 > 0:53:33# Burned the place to the ground
0:53:34 > 0:53:40# Smoke on the water, fire in the sky
0:53:43 > 0:53:46# Smoke on the water
0:53:47 > 0:53:49# Burn
0:53:49 > 0:53:51# Burning down
0:53:53 > 0:53:56# Ah!
0:53:56 > 0:53:57# Yeah!
0:53:58 > 0:54:01# We're burning down
0:54:01 > 0:54:02# Oh, let me hear ya
0:54:58 > 0:55:02# We ended up at the Grand Hotel
0:55:02 > 0:55:05# It was empty, cold and bare
0:55:05 > 0:55:10# But with the Rolling truck Stones thing just outside
0:55:10 > 0:55:14# Making our music there
0:55:14 > 0:55:18# With a few red lights and a few old beds
0:55:18 > 0:55:21# We make a place to sweat
0:55:22 > 0:55:26# No matter what we get out of this
0:55:26 > 0:55:31# I know, I know we'll never forget
0:55:31 > 0:55:36# Smoke on the water, fire in the sky
0:55:38 > 0:55:42# Smoke on the water
0:55:45 > 0:55:47# Burning down
0:55:56 > 0:55:59# Hey, yeah!
0:56:01 > 0:56:03# And the fire was burning... #
0:56:06 > 0:56:10Here's a funny thing - this is an odd thing,
0:56:10 > 0:56:13but I've noticed that when any guitar player
0:56:13 > 0:56:18goes to redo a track from Machine Head,
0:56:18 > 0:56:20they overdo it.
0:56:20 > 0:56:22And it's not because they're making
0:56:22 > 0:56:23a mistake or anything like that.
0:56:23 > 0:56:24It's really because the music
0:56:24 > 0:56:26is so powerful,
0:56:26 > 0:56:28the memory of the music is so powerful,
0:56:28 > 0:56:30that you just think you have to turn it up louder,
0:56:30 > 0:56:32have more distortion or more power
0:56:32 > 0:56:36and we're often shocked when we go back to the original recordings
0:56:36 > 0:56:39and we say, "Wow - this is actually quite delicate."
0:56:40 > 0:56:43# Yeah...!
0:56:43 > 0:56:46# It's tumbling, tumbling down
0:56:46 > 0:56:47# Baby... #
0:56:48 > 0:56:52Being a drummer, Ian Paice, he was my hero, my idol.
0:56:52 > 0:56:55He was one of my first real influences
0:56:55 > 0:56:59and I listened to that record over and over.
0:56:59 > 0:57:02I always thought Made In Japan was interesting
0:57:02 > 0:57:04because it showed Deep Purple jamming
0:57:04 > 0:57:07and changing the songs, changing up some of the arrangements,
0:57:07 > 0:57:10and captured them on stage where a lot of people feel
0:57:10 > 0:57:13they were absolutely lethal, they did their best work
0:57:13 > 0:57:18and it was just one of those ultimate live albums of the time.
0:57:18 > 0:57:20These guys were just in a different league -
0:57:20 > 0:57:22Deep Purple were better than everybody else.
0:57:58 > 0:58:01APPLAUSE
0:58:05 > 0:58:07Hey! Thank you.
0:58:07 > 0:58:11Thank you all. Thank you. Thank all very much.
0:58:11 > 0:58:12God bless you, you've been fantastic.
0:58:12 > 0:58:15Thank you for coming and we'll see you around sometime.
0:58:15 > 0:58:17Thank you. Thank you all for that.
0:58:17 > 0:58:19Hey!
0:58:22 > 0:58:25MC SPEAKS IN JAPANESE
0:58:42 > 0:58:43..Deep Purple!
0:58:50 > 0:58:53Wahey! Down with the monitors, eh?
0:58:53 > 0:58:55Down with the monitors, mate. Yeah.