Classic Albums - Deep Purple: Made in Japan


Classic Albums - Deep Purple: Made in Japan

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Transcript


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This programme contains some strong language

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CHEERS AND APPLAUSE

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All I want to say to all of you is thank you very much, you've

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been great. Thank you for everything you've given us in Japan.

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And thank you, really, you're the representatives of the whole

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world, as far as we're concerned.

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Thank you and God bless you for everything you've ever given us.

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And this is the last night. The end.

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Thanks a lot.

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CHEERS AND APPLAUSE

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I didn't think Machine Head, at the time, was anything special.

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It was Made In Japan that threw it into the stratosphere.

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We did the same songs on stage

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and it seemed to take off that much bigger than Machine Head.

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It's a beautiful snapshot of the band in all its glory.

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Firing off each other, working it out, live on stage.

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On the night.

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And then people started to break down.

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'72, I think we made two albums, six US tours.

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Something happened. Ritchie and Ian Gillan agreed to disagree.

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I wrote a letter saying I was going to leave.

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No-one said anything, so I assumed they wanted me to leave.

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It was just pressure, pressure, pressure,

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and that's exactly why that split happened.

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# My woman from Tokyo

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# She makes me see

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# My woman from Tokyo

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# She's so good to me. #

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# When I was younger, so much younger than today... #

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We started in '68, Jon Lord and myself, and we put the band

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together, and I don't think we quite knew what direction that we had.

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We kind of...flim-flammed around in certain areas.

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I think the first album was a recording of everything we'd learnt.

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I don't think we had anything else. I think that was it.

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A couple of original bits and pieces and then quite a lot of covers.

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# Help me get my feet back on the ground... #

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The highs were the interaction that Ritchie, Jon and I found,

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musically

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and personally.

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We had a great time.

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The lows were...learning very quickly that the...balance

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of the band, personnel, couldn't go as far as it really needed to.

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As we were staggering into 1969, Ritchie and I, particularly,

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realised that the band was in danger of not being quite what we'd

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seen it as in our minds.

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It was going a little bit...pop.

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There we are, like, really searching for an identity

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and that search goes on pretty much through the first three albums.

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A friend of mine had a singer in his band, it was Ian Gillan.

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So we tried out Ian. He had the scream, he had the look,

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and that's why in 1970 we were on our way.

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Good morning. And how are you?

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# Good golly, said little Miss Molly

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# When she was rockin' in the house of blue light

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# Tutti frutti was oh so rooty... #

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Then, of course, In Rock came out and that became

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a phenomenon in the British charts, in the top ten for over a year.

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It hit a chord with the British youth and Europe.

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# I'm a speed king

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# You go to hear me sing... #

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When we saw what In Rock had done, it was a calling card.

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It said - this is Deep Purple.

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Everybody in the band was absolutely behind it

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and that lasted pretty much into the Machine Head era.

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# Saturday night and I just got paid

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# Gonna fool about, ain't gonna save

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# Some people gonna rock, some people gonna roll... #

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Deep Purple In Rock stayed in the charts for over a year.

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Big success to follow.

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I think there was a feeling of - what do we do next?

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How do we top that?

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# I don't care

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# What you think

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# I never heard you

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# I never heard you anyway... #

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Fireball, there was a kind of certain intimidation going on

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and by the time it was finished, I think we were a little tired.

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Fireball was lots of fun, but it was a little more introvert.

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And there's still some great tracks on it, but it didn't fire up

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the imagination of the public the way that In Rock did.

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# Oh...

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# Like a demon's eye. #

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Fireball, it's a troublesome...album because, to me,

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you couldn't have had Fireball without In Rock.

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But you couldn't have Machine Head without Fireball, so it sits

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very nicely as part of those three really...good rock albums.

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The success that In Rock and, not quite so much Fireball,

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gave us allowed us to say, "OK, the next time round, we're

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"going to get a situation where once we've got the sound, three weeks,

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"we've got the songs together, we just record them," you know?

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And that's what we did with Machine Head.

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Ha-ha.

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Yeah, let's go.

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# Oh, yeah...

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# Uh-uh... #

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Although we were wildly successful, Deep Purple In Rock

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and Fireball, we actually hadn't made much money

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because we were paying back the management for having funded

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the band for so many years.

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So despite all that success, you know, we needed to make some money.

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# Really hate the running

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# Really hate the game

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# Looking at them all, I want to be unborn again... #

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In 1971, the law changed.

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If a recording is done overseas, so long as the overseas derived

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income wasn't remitted into the UK, it wasn't taxed in the UK.

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What happened was that the boys had to become tax exiles.

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That is a process which saved a huge amount of money.

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We had an accountant at the time called Bill Reid,

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a brilliant guy, and he cooked up this scheme.

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He said, "Look, if you write songs and record them

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"outside of the country, you won't be taxed English tax,

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"you're only taxed on what you earn in England."

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And we travelled the Continent, so it wasn't a big problem for us

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to do that.

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We took specialist tax advice that in order for the boys to get

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the benefit of whatever they might do in the future, they would

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have to have an employment, as opposed to a partnership.

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As it was considered that their next album, which they had yet to record,

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or even write, was going to be the biggest that they would have had

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yet because of the rising success in album sales, that we

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would institute the employment regime by having a company

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which was an English company,

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but it employed the artists only for their overseas activities.

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And the next album which they did, which was Machine Head,

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made that a very wise decision.

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So we thought we'd record an album under studio conditions,

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but in a live venue.

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Claude Nobs was the instigator of us going to Switzerland

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and Claude said that he could set us up with something over there,

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which was the Casino, to record at the Casino.

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Under the new regime and under their employment contracts,

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they had to record overseas. The question then would be, where to go.

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And the band and Tony and Jon looked around and spoke to Claude Nobs,

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who was a promoter on the Continent.

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Claude Nobs, our friend from Montreux, he did the jazz festival.

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He said, "We've got tonnes of space here.

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You can do it, you can do it here.

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We'll find a place in the Casino, which is closed for the winter.

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Everyone knows the story.

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A little rock 'n' roll that we call Speed King.

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# Good golly, said little Miss Molly

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# When she was rockin' the house of blue light... #

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That was probably the best times of Purple back then

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and when we arranged to go to Switzerland to do this album,

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it was just a fantastic time, you know?

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Unfortunately, the Casino burned down,

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but out of that sprang the song, of course.

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Without that, there would have been no Smoke On The Water.

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Why did you go to Switzerland to record Machine Head?

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Several reasons. One being it's a great place to be, Montreux.

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We know a lot of people in Montreux. And it was a nice place to go.

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The second, because we used The Rolling Stones' mobile unit and that

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was in the South of France and it was easy to trundle it up to Switzerland.

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Um... And thirdly, money reasons, tax reasons. It's... It's...

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You can avoid paying some tax on your albums, on your royalties,

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if you've made the album out of the country.

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It's a very complicated deal, but it's not illegal.

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Tax people know about it, but it's just if you want to take

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advantage of it, you have to record outside the country.

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And also, we did it in two weeks,

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where normally we take three or four months over an album,

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on and off, but we just had a concentrated two weeks playing.

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We'd written all the songs and we just went in and recorded.

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The Casino in Montreux, Switzerland,

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if you were doing a tour of Europe, you'd play there.

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And the guy who was organising it, Claude Nobs, said, "Don't put

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"your gear in yet because there's one more show before you can do it.

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"It's a matinee tomorrow afternoon, Frank Zappa

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"And The Mothers. Three o'clock. Do you want to go?" "Sure."

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'Ladies and gentlemen...'

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And about an hour into the show,

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someone fired a flare gun into the ceiling, which was made of...

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It was like a false ceiling, bamboo.

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And there wasn't much of a fire at first, but things came to

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a halt and everyone was ordered to leave the building.

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And there was a little bit of a panic, but not bad.

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No-one was hurt, strangely enough.

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And literally within five minutes or so, the place was an inferno.

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GUITAR FEEDBACK

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Fire!

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Probably go towards the exit, ladies and gentlemen.

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The fire had started in the ceiling

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and it spread without anyone seeing it and it was a huge building,

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it wasn't just a casino, it was a venue,

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that's where we were watching Zappa, there was a disco there,

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bars, restaurants, a big casino, big convention facilities, so it was a

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massive building and it was a wooden building and, bang, it just went up.

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And the next morning, we went there and it was still smouldering.

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It's amazing that no-one got hurt.

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-FRANK ZAPPA:

-We'd just started playing King Kong

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but we were playing and in that part of King Kong, I stop the band

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and so, obviously, there was a fire and a window in the back,

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a big window with maybe a 10 or 15-feet drop down.

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They broke that and people were jumping out and...

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So, everybody got out.

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And Claude, bless him, Claude was wonderful.

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There's a photograph of Claude in Machine Head taken as the fire

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was raging and he came by the hotel to see us and the look

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on his face is evident in that picture, it's a wonderful picture.

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I mean his future, his life was going up in flames and, bless him,

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he didn't think about that, he said,

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"I'm really worried about you, what are you going to do?"

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"We've got to find somewhere else."

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Montreux, then, it was a very small, sleepy town, very upper class.

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It was very quiet. I think there was one club, a couple of restaurants.

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It had a lot of tea shops,

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lots of little old ladies going out in the afternoon for tea

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and we're looking for somewhere where we can make

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a lot of noise in the middle of the night.

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That's a pretty tall order.

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Now, we only had a certain amount of time with the Stones' mobile.

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We started work in one place, which was a theatre in town.

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We did one track there and the police were hammering on the door,

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we actually did the track about one or two in the morning after

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spending all evening rehearsing and getting sounds and stuff so

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we obviously couldn't use that place and we got a little bit desperate.

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Well, it was chaos.

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I mean, from being beautifully organised and arranged -

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we would record here, the truck would be here, the hotel was there -

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all of a sudden, you've got nowhere to record cos it's a bunch of ashes.

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But you've still got the expense of the hotel, you've still got

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the truck there that's got to be paid, everybody's over there.

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What do you do? You find somewhere else to do it.

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We looked at barns, farms, hotel basements.

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Various places

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and I think it took about five or six days before we found the Grand Hotel,

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which was closed. It was winter, it was November.

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Machine Head to me was...

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I had realised how simple and easy it was to make a good record,

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um, without all the trappings, without the headaches.

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We made that record in three weeks and three days

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and it was great substance, great record and it was done, out.

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And, to me, that represented how a record should be made.

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Quick and to the point.

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SONG: Smoke On The Water

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# We all came out to Montreux

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# On the Lake Geneva shoreline

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# To make records with a mobile

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# We didn't have much time

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# Frank Zappa and the Mothers

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# Were at the best place around

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# But some stupid with a flare gun

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# Burned the place to the ground

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# Smoke on the water... #

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It's interesting the way a band looks at its material

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when it comes to singles.

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Because we weren't really...

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It goes without saying, we weren't really a singles band,

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it wasn't the kind of thing that we felt comfortable putting

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the material into single form, it didn't come easy to us.

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But we were writing well by that time and I honestly thought that

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we'd written a great single in Never Before.

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In fact, to the point that

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when we sent it across to Warner Bros in the States...we sent it

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with the indication that Never Before would be the single.

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It came back with the comment,

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"You must be joking. The hit is Smoke On The Water."

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To which we said,

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"You must be joking, the hit is Never Before."

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We honestly didn't think that Smoke On The Water was hit material.

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How wrong can you be?

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SONG: Never Before

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# Somebody

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# Somebody

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# Come to my side... #

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Machine Head, Deep Purple's new album,

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in your record shop now on Purple Records.

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Where else?

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Machine Head came out and it was a reasonable hit, people liked it.

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But it wasn't till Made In Japan came out that people actually

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absorbed it and registered that it was a good record.

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CHEERING AND APPLAUSE

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'We did the same songs on stage'

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and it seemed to take off that much bigger than Machine Head.

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It's nice to be here.

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We've had a nice time over the last few days,

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I hope you enjoy yourselves.

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If we could have a little bit more atmosphere on the lights,

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we'd appreciate it.

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'I didn't think Machine Head,

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'at the time, was anything more special than Fireball'

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or In Rock.

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And in fact, it wasn't really until we did Made In Japan,

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the live album, that it really came to life.

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Yeah, it was a big hit

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but it was Made In Japan that threw it into the stratosphere.

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SONG: Highway Star

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All right.

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This is a song called Highway Star, this one.

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Made In Japan started as an idea from the Japanese record company.

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They said, "We want a live album, Japan only."

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We hated the thought of live albums, strangely,

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for a band that was so good live.

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We just thought, "Maybe not."

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So, we said, "Only if it only ever comes out in Japan."

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Thus the title.

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# Nobody gonna take my car

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# I'm gonna race it to the ground

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# Nobody gonna beat my car

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# It's gonna break the speed of sound

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# Ooh, it's a killing machine

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# It's got everything

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# Like a driving power

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# Big fat tyres and everything

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# I love it

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# And I need it

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# I bleed it

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# Yeah, she turns me on

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# Alright

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# Hold tight

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# I'm a highway star... #

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Made In Japan, of course, as a title was a joke

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because in England in the '50s, '60s, '70s,

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if something was said to be "made in Japan",

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it was almost like it was second-rate so, to us, it was like,

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"Oh, yes, just made in Japan,"

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and it would only ever come out in Japan.

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And we eventually heard it

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and realised that we had something rather wonderful.

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# I love her

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# And I need her

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# I seed her

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# Yeah, she turns me on

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# Alright... #

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Back in the early '70s...

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..live albums were viewed as sort of budget albums.

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They were viewed as if you had nothing better to do.

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They were...not considered a proper album.

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Studio albums were proper albums.

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Live albums were things you did on the side.

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We were kind of wary of doing that

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because we'd been a pretty heavily bootlegged band

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for a couple of years.

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There was a Japanese record company that wanted to record the live album.

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We said, "No, we're not doing that."

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They kept on insisting. We said,

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"OK, we'll do it in certain conditions.

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"A - it only comes out in Japan.

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"B - it doesn't come out at all if we don't like it.

0:24:030:24:06

"And C - we mix it and have our own engineer record it."

0:24:060:24:10

Excellent musicians. What can you say about them?

0:24:160:24:19

They were the best at what they did,

0:24:200:24:22

without a shadow of a doubt.

0:24:220:24:24

I think they influenced a lot of groups over the years.

0:24:240:24:26

You know, I went to my first Deep Purple concert in 1973.

0:24:300:24:34

February, 1973. It blew my mind. I'd never seen energy at that level.

0:24:340:24:39

I'd never seen performance, I'd never seen personality,

0:24:390:24:42

like, it was the biggest thing I'd ever seen.

0:24:420:24:45

When I was growing up as a kid, I grew up in California,

0:24:450:24:47

but the first album that I really got into was Made In Japan.

0:24:470:24:53

Which was a double live album.

0:24:530:24:55

In the States, Made In Japan was probably one of the highlights.

0:24:550:25:00

All the hits that came through America were the ones that we got.

0:25:000:25:08

That was another brilliant album that was recorded under

0:25:080:25:11

really strange and extreme conditions, you know?

0:25:110:25:16

I remember Martin Birch was out.

0:25:160:25:18

We put the control room backstage,

0:25:180:25:21

so he had no physical eye contact with the band.

0:25:210:25:25

It was all just listening. We found that really strange.

0:25:250:25:30

But that turned out...

0:25:300:25:31

..fantastic, for the time. Brilliant album.

0:25:330:25:35

Maybe Ritchie and Ian weren't getting on well off stage,

0:26:260:26:30

but on stage there was still a massive important

0:26:300:26:34

amount of chemistry.

0:26:340:26:36

# Nobody gonna take my car

0:26:360:26:38

# It's gonna break the speed of sound

0:26:380:26:41

# Ooh, it's killing machine

0:26:410:26:43

# It's got everything

0:26:430:26:47

# Like a driving power

0:26:470:26:48

# Big fat tyres and everything

0:26:480:26:51

# I love her

0:26:510:26:52

# And I need her

0:26:520:26:53

# I seed her

0:26:530:26:55

# Yeah, she turns me on

0:26:560:26:58

# All right, hold on tight

0:26:580:27:00

# I'm a highway star

0:27:000:27:04

# I'm a highway star

0:27:040:27:07

# I'm a highway star

0:27:070:27:11

# Yes, I am

0:27:130:27:16

# Oh, yeah! #

0:27:200:27:22

I never saw either Zeppelin or Purple when I was a kid,

0:27:250:27:28

when they were in their heyday when they were all firing away.

0:27:280:27:31

I never saw Purple or Zeppelin.

0:27:310:27:33

So all I had to go on was their respective live things.

0:27:330:27:38

On that score, Purple kicked their pants.

0:27:400:27:43

I think that Made In Japan might be really, for a lot of people,

0:27:430:27:47

the quintessential Deep Purple record, especially from that time.

0:27:470:27:52

One of the greatest, if not the greatest live album ever recorded.

0:27:520:27:55

Of course, Martin Birch who worked with Purple

0:27:550:27:59

on just about everything, was our producer in Maiden for many years.

0:27:590:28:05

So you'd sit down over a few beers and talk to Martin

0:28:050:28:08

and you'd get the lowdown. You'd think, "Wow, it really was live.

0:28:080:28:11

"There were no overdubs. It was as was."

0:28:110:28:14

That's what makes it even more incredible,

0:28:140:28:17

it was done in eight track or something.

0:28:170:28:19

Come on, now.

0:28:190:28:20

Everybody, shake your hands like this.

0:28:200:28:23

That's nice. Come on, now.

0:28:230:28:25

Everybody!

0:28:250:28:26

# Ah. #

0:28:260:28:29

Come on, now. Clap your hands.

0:28:290:28:31

RHYTHMIC CLAPPING

0:28:310:28:32

I want everybody to clap their hands.

0:28:340:28:36

Really loud, now.

0:28:370:28:38

Every single live version, every single recording is different,

0:28:450:28:49

so if you hear three nights in Japan

0:28:490:28:54

in August '72, Strange Kind Of Woman,

0:28:540:28:57

Child Of Time, whatever, they're all different from each other.

0:28:570:29:00

Ritchie plays different solos, Ian sings different phrases,

0:29:000:29:03

Ian Paice plays different drum fills.

0:29:030:29:06

It's the coolest thing cos you never know exactly what's coming next.

0:29:060:29:10

SONG: Space Truckin'

0:29:100:29:11

# Well, we had a lot of luck on Venus

0:29:110:29:15

# We always had a ball on Mars

0:29:150:29:19

# We meeting all the groovy people

0:29:190:29:22

# We've rocked the Milky Way so far

0:29:220:29:26

# We rocked around with Borealice

0:29:260:29:29

# We're space truckin' round the stars

0:29:290:29:32

# Come on

0:29:340:29:36

# Come on

0:29:360:29:37

# Come on

0:29:370:29:39

# Let's go, space truckin'

0:29:390:29:41

# Come on

0:29:410:29:43

# Come on

0:29:430:29:44

# Come on

0:29:440:29:45

# Yeah, yeah, yeah... #

0:29:450:29:47

I think Made In Japan is possibly

0:29:490:29:53

one of the greatest live rock albums ever made.

0:29:530:29:56

I'll tell you why.

0:29:560:29:58

Firstly, because there was nothing like it that ever came out before.

0:29:580:30:02

Secondly, it showed you the difference between a band

0:30:020:30:07

in the studio and a band live.

0:30:070:30:09

# Come on

0:30:100:30:11

# Come on

0:30:110:30:13

# Come on

0:30:130:30:14

# Let's go space truckin'

0:30:140:30:16

# Come on

0:30:160:30:18

# Come on

0:30:180:30:20

# Come on... #

0:30:200:30:21

We recorded three shows.

0:30:250:30:27

By that time the anarchy that was happening on stage

0:30:280:30:32

had coalesced into certain...

0:30:320:30:34

You do something on stage as an adlib.

0:30:340:30:38

If it works, you tend to do it another night.

0:30:380:30:42

So all these little bits and pieces of punctuation between the songs

0:30:420:30:47

and during the songs were becoming second nature to us.

0:30:470:30:50

# Come on

0:30:550:30:56

# Come on

0:30:560:30:58

# Come on... #

0:30:580:30:59

To me, that is one of the most missed things in rock 'n' roll -

0:31:010:31:06

the thing that it's about a moment up on stage.

0:31:060:31:10

You don't know where it's going next.

0:31:100:31:13

The interplay between Ritchie and Gillan, for example.

0:31:130:31:16

Guitar, voice, guitar, voice, that kind of thing.

0:31:160:31:18

then the Jon and Ritchie thing.

0:31:180:31:20

It was just pure good fortune that really

0:31:230:31:27

we recorded that album at really the peak of our performing abilities.

0:31:270:31:32

Ritchie would solo until he didn't want to solo any more.

0:31:330:31:37

If you know what to look for, he'd turn around,

0:31:370:31:40

he'd raise his right hand.

0:31:400:31:41

He'd look over at Ian Paice and then, within two or four bars,

0:31:410:31:44

he'd go into the next part.

0:31:440:31:46

A band on fire, I would say. A band absolutely at the top of its game.

0:31:490:31:53

That's why I loved that album.

0:31:530:31:55

It's a beautiful snapshot of the band in all its glory playing live,

0:31:560:32:03

firing off each other, listening to each other,

0:32:030:32:07

working it out live on stage, on the night.

0:32:070:32:11

It wasn't really until we got back to England and put the tapes on...

0:32:110:32:15

Wow.

0:32:170:32:19

They sound great.

0:32:190:32:20

Maybe this should be out.

0:32:220:32:23

By that time, the American label, Warner Brothers,

0:32:240:32:27

weren't interested in a live album.

0:32:270:32:29

They wanted the next studio album which was, Who Do We Think We Are.

0:32:300:32:33

Back then you don't think you're going to last very long.

0:32:370:32:39

You think you're only as good as your last record.

0:32:390:32:42

If you're lucky, you can get another couple of years out of it

0:32:420:32:46

and then, who knows what?

0:32:460:32:48

# Yeah, yeah, yeah, yeah, yeah... #

0:32:510:32:53

One of the great Purple classics is on Who Do We Think We Are -

0:32:580:33:02

Woman From Tokyo.

0:33:020:33:04

It's made under very difficult circumstances.

0:33:040:33:07

We had In Rock then we had Fireball then Machine Head.

0:33:100:33:13

Then we had Who Do We Think We Are.

0:33:130:33:15

Again, a little more introvert.

0:33:150:33:17

A lot more difficult to record,

0:33:170:33:19

which I think is probably the problem with Who Do We Think We Are.

0:33:190:33:22

We were in a villa just outside Rome, which had been chosen for us

0:33:220:33:27

to record in because it had a wonderful room to record.

0:33:270:33:32

What they hadn't done was measure the size of an archway

0:33:320:33:35

through which the mobile unit would have had to have gone

0:33:350:33:38

to make it nice and easy. The mobile unit wouldn't fit under the archway.

0:33:380:33:43

So cables had to be brought in specially. Special long cables.

0:33:430:33:47

We staggered through, we got an album out of it.

0:33:470:33:50

Made In Japan was really the Machine Head record.

0:34:030:34:07

If we waited till after Who Do We Think We Are,

0:34:070:34:10

it would have been out of date,

0:34:100:34:11

so we really wanted to put it out there.

0:34:110:34:13

Which they eventually did, but only

0:34:200:34:22

because our management started importing copies into the States.

0:34:220:34:27

Warner Brothers realised that they were losing out.

0:34:270:34:30

Who Do We Think We Are. I think on that album... It wasn't that good.

0:35:110:35:14

It started off OK.

0:35:140:35:16

But there were cracks showing a little bit.

0:35:180:35:21

I think Ritchie and Ian weren't getting on too well.

0:35:210:35:24

I don't know why...that happened.

0:35:270:35:31

But, yeah, the cracks were starting to appear.

0:35:310:35:33

Somewhere between Fireball and Who Do We Think We Are,

0:35:330:35:39

going through the Machine Head period,

0:35:390:35:42

Ritchie and Ian Gillan agreed to disagree.

0:35:420:35:47

Something happened. I'm not sure what it was.

0:35:490:35:52

I'm not sure, actually, that either of them could now iterate exactly

0:35:520:35:59

what it was that went down between the two of them, but something did.

0:35:590:36:03

We'd done about as much as we could do with that kind of rock,

0:36:140:36:18

as far as I could see.

0:36:180:36:20

My idea was that there was far too much talent in the band

0:36:210:36:24

for it to remain static.

0:36:240:36:27

I thought we were compromising ourselves.

0:36:270:36:30

I thought we were losing our integrity.

0:36:300:36:33

My decision to leave the band was in '72.

0:36:330:36:37

Confused, young, unfocused, frustrated.

0:36:370:36:42

The thing that a lot of people forget is that he was not fired.

0:36:420:36:45

He left.

0:36:450:36:46

He wrote us a letter saying that he no longer agreed with

0:36:460:36:52

the direction that the band was taking.

0:36:520:36:55

I do have to say this -

0:36:550:36:57

that I think that if our management had understood

0:36:570:37:01

that it was actually a cry for help

0:37:010:37:03

that he would not have been out of the band.

0:37:030:37:06

Something had been thrown into the pot to change the formula.

0:37:060:37:10

I don't know what it was,

0:37:100:37:12

but it seemed to be not the Deep Purple that I'd joined in '69.

0:37:120:37:17

It's not the band it was. You suddenly think, well, I don't know.

0:37:170:37:20

I've always made my decisions on the basis

0:37:200:37:23

of I've got to be enjoying what I'm doing.

0:37:230:37:26

I didn't know how to fix it, so I thought I'd quit.

0:37:260:37:29

Broke my heart at the time. Didn't want that to happen one bit.

0:37:290:37:33

I was...

0:37:330:37:35

Even through the difficulties with Ritchie and Gillan...

0:37:350:37:39

I still thought we had a marvellous band.

0:37:390:37:42

Ladies and gentlemen, Deep Purple.

0:37:420:37:44

CHEERING

0:37:440:37:45

-ROGER:

-In the band, it was widely presumed

0:37:550:37:57

that Ritchie was going to leave

0:37:570:37:58

and take Paicey with him.

0:37:580:38:01

Gillan had written his letter of resignation...

0:38:010:38:03

..which left Jon and I.

0:38:050:38:06

Ritchie is one of these guys,

0:38:100:38:11

I think he's always looking for something new.

0:38:110:38:14

Unbeknownst to us, he'd been secretly jamming

0:38:140:38:18

with Phil Lynott from Thin Lizzy.

0:38:180:38:21

He wanted to do a three piece, I think.

0:38:210:38:23

I wanted to form a band with Phil Lynott from Thin Lizzy.

0:38:270:38:32

I said to Ian Paice, "Let's have a three piece

0:38:320:38:36

"and we'll play some kind of Hendrix blues stuff."

0:38:360:38:41

BLUES SOLO

0:38:420:38:43

Our two managers, Tony Edwards and John Coletta,

0:39:000:39:02

summoned Jon and I to a restaurant one night in London and said,

0:39:020:39:08

"This is crazy.

0:39:080:39:10

"The band's breaking up

0:39:100:39:11

"and you're the biggest band in the world right now.

0:39:110:39:15

"Maybe you can persuade Paicey to stay with you,

0:39:160:39:18

"and we'll get a new lead singer and a new guitarist and carry on."

0:39:180:39:22

As painful as that was to understand, why not?

0:39:230:39:27

We said, "Yeah, let's do that."

0:39:270:39:31

Our first job, Jon and I, was to talk Paicey into staying.

0:39:310:39:35

At that point, Ian was involved.

0:39:350:39:40

He said, "You know what?

0:39:400:39:42

What would you want to stay in Deep Purple,

0:39:420:39:46

Ian's leaving, what's the problem with the band?

0:39:460:39:49

Why won't you stay with Purple?

0:39:490:39:52

I said, "Well, OK.

0:39:520:39:55

"I would expect Roger maybe to leave

0:39:550:39:58

"because I wasn't particularly into what he was doing."

0:39:580:40:02

I said, "But that's not fair, because Roger's done nothing wrong.

0:40:020:40:06

"I'd rather leave the band,

0:40:060:40:07

"get another thing going than fire somebody who's done nothing wrong."

0:40:070:40:13

The following...

0:40:130:40:14

I think in January, '73, with the Scandinavian tour,

0:40:140:40:18

we got Paicey in the dressing room afterwards and said,

0:40:180:40:21

"Look, stick with us, we'll get a new guitarist, a new singer."

0:40:210:40:25

He said he'd think about it.

0:40:250:40:26

You have to remember, I was very much a kid then.

0:40:260:40:29

I was a kid in a candy store. My life was one big party.

0:40:290:40:32

I really didn't worry about what was going to happen the next day,

0:40:320:40:35

the next gig.

0:40:350:40:36

That sort of responsibility was taken on by Ritchie and Jon,

0:40:360:40:40

who were a little further along life's highway than I was.

0:40:400:40:44

We did a Japanese tour. Then two American tours.

0:40:440:40:48

It was on the second American tour that I realised...

0:40:510:40:54

..that no-one was talking to me.

0:40:560:40:58

# Ah

0:40:580:40:59

# Ah-ah-ah-ah-ah-ah

0:40:590:41:02

# Ah-ah-ah-ah-ah-ah

0:41:020:41:04

# Ah-ah

0:41:040:41:05

# On my soul

0:41:090:41:11

# I love you

0:41:120:41:15

# Yeah

0:41:150:41:18

# Ow

0:41:180:41:20

# Ah. #

0:41:220:41:24

CHEERING

0:41:250:41:27

Ian said, "OK, we'll fire Roger if you're going to stay."

0:41:280:41:31

And I... I felt really awkward.

0:41:320:41:35

I said, "Em...OK."

0:41:350:41:37

It was a kind of weird feeling. I was kind of out in the cold.

0:41:380:41:42

I couldn't put my finger on what was going on.

0:41:430:41:46

We were in Jacksonville, Florida.

0:41:460:41:47

Came back to the motel we were staying in.

0:41:490:41:51

I knocked on Tony Edwards' door, our manager at the time.

0:41:510:41:54

He said, "What do you want?" I said, "What's going on?"

0:41:540:41:57

He said, "Nothing."

0:41:570:41:59

I said, "Something's going on."

0:41:590:42:01

He said, "No, no, no, no.

0:42:010:42:02

"Nothing's going on."

0:42:020:42:04

I said, "Well, I'm not leaving this room until you level with me."

0:42:040:42:08

He said, "OK. They want you to leave the band."

0:42:080:42:10

"Why?" He said, "I don't know, that's the way it is.

0:42:140:42:17

"Ritchie's decided he'll stay with the band on the condition

0:42:170:42:21

"that you leave."

0:42:210:42:22

Pretty hurtful thing to hear.

0:42:260:42:28

SONG: Child In Time

0:42:280:42:30

# Sweet child in time

0:42:310:42:33

# You'll see the line

0:42:350:42:37

# The line that's drawn between

0:42:380:42:40

# The good and the bad... #

0:42:420:42:45

Maybe I did the wrong thing, but I said,

0:42:450:42:47

"Well, you're not going to fire me.

0:42:470:42:49

"I'll keep my dignity and I'll leave of my own accord.

0:42:510:42:54

"Why didn't anyone tell me this before?"

0:42:540:42:57

They said, "Because we wanted to finish the tour.

0:42:570:42:59

"We didn't want you leaving in the middle of a tour."

0:42:590:43:03

I thought, "Fuck them. I'll fulfil my duty. I'll be the gentleman here.

0:43:030:43:08

"I'll fulfil my duties, and then I'm gone."

0:43:080:43:10

So the rest of that tour...

0:43:110:43:13

Actually, it was the Japanese tour was the last one.

0:43:130:43:16

I remember squaring with Jon Lord on the flight to Tokyo...

0:43:170:43:20

..he was pretty embarrassed and upset.

0:43:220:43:24

He said, "Well, sorry, mate, that's the way it is."

0:43:250:43:28

I felt really let down, actually by Jon and Paicey in particular.

0:43:280:43:32

More than Ritchie, strangely enough.

0:43:320:43:34

Ritchie had always been on his own course anyway.

0:43:370:43:40

Ritchie said to me on the final night...

0:43:430:43:45

We passed on the stairs leading up to the dressing rooms,

0:43:470:43:50

he said, "Just want to say it's not personal, it's business."

0:43:500:43:55

Then he carried on.

0:43:560:43:57

# Whoa-oh

0:43:590:44:01

# Ah

0:44:010:44:05

# Ah

0:44:050:44:09

# Ah

0:44:090:44:11

# Ah, I wanna hear you sing... #

0:44:110:44:16

Roger was let go and I stayed with the band.

0:44:160:44:18

We got in another bass player and another singer.

0:44:180:44:21

I wanted to go more toward the melodic content area,

0:44:220:44:26

which is what I'm doing now as well.

0:44:260:44:28

# Ah

0:44:300:44:33

# Ah

0:44:330:44:37

# Ah

0:44:370:44:40

# Oh-oh-ooh

0:44:400:44:42

# Yeah, yeah... #

0:44:420:44:44

It was like late '72 or even middle of '72...

0:44:440:44:47

Trapeze were playing at the Whisky a Go Go,

0:44:490:44:52

three nights or four nights.

0:44:520:44:54

I noticed, in the audience, Jon Lord was there one night,

0:44:540:44:59

Ian Paice was there,

0:44:590:45:01

Ritchie was there, like, separately.

0:45:010:45:03

And I just figured these guys were really good fans of Trapeze,

0:45:030:45:07

or they were becoming fans of Trapeze -

0:45:070:45:09

very vulnerable and naive back then.

0:45:090:45:12

And, eh...

0:45:120:45:14

Same thing happened in The Marquee in London,

0:45:140:45:16

and you know...they each came a couple of times,

0:45:160:45:20

and...you know...

0:45:200:45:22

And then, you know, I had a feeling they were there for another reason.

0:45:220:45:28

I just didn't realise that, at that moment,

0:45:280:45:30

they were going to ask me to join.

0:45:300:45:32

We'd all drifted apart, personally.

0:45:380:45:41

When there were no girlfriends, everyone would,

0:45:410:45:44

um...travel together.

0:45:440:45:47

Gradually - I was probably the worst culprit.

0:45:470:45:50

There's no finger-pointing here,

0:45:500:45:52

or anyone to blame or anything like that,

0:45:520:45:54

except maybe me.

0:45:540:45:56

It was...me as much as anyone, or probably more.

0:45:560:46:00

But the personal touch had gone.

0:46:000:46:03

So I didn't really know that Roger was leaving

0:46:040:46:06

until it had happened, on the plane home.

0:46:060:46:10

I mean, I was very pleased with the music, it was good.

0:46:120:46:15

I was not in any way ashamed of it.

0:46:150:46:17

But I thought there was a time to add a new dimension to it

0:46:170:46:21

or to adopt a slightly different approach,

0:46:210:46:23

without losing our identity,

0:46:230:46:25

but just naturally progress it.

0:46:250:46:27

Otherwise, we'd have faded away.

0:46:270:46:29

This is why I...

0:46:290:46:31

Nobody really wanted to do that, so that's why we left.

0:46:310:46:34

I mean, I left in, what, June?

0:46:360:46:38

And I think it was July or August that Billboard announced

0:46:380:46:44

the number one selling artists -

0:46:440:46:47

we had two awards, number one band and number one album.

0:46:470:46:50

And, uh...I was in the office one day

0:46:520:46:55

and I saw the billboard with the announcement and I looked at it -

0:46:550:46:58

a huge, great photograph showing Coverdale and Hughes.

0:46:580:47:02

And I just went, "That's...that's really the icing on the cake.

0:47:020:47:06

"That...that was my success.

0:47:060:47:10

"And not only have I been kicked out of the band,

0:47:100:47:12

"but that's been taken away from me as well."

0:47:120:47:14

I got...we all got watches with "Mark II" on it.

0:47:140:47:17

And I'm going, "Well, this is nice,

0:47:170:47:18

"but this surely should be Roger's watch."

0:47:180:47:20

I was getting plaques, I think I got a couple of plaques

0:47:200:47:23

from Who Do You Think We Are?

0:47:230:47:26

However, I was mature enough to realise

0:47:260:47:28

that it wasn't Coverdale's fault or Glenn Hughes' fault

0:47:280:47:31

any more than it was my fault when they got in Nick Simper.

0:47:310:47:34

It wasn't really uncomfortable. It was just the way it was, you know?

0:47:340:47:37

There was no point in holding grudges like that.

0:47:370:47:42

I think, em...

0:47:420:47:43

..Ian's timing,

0:47:440:47:47

Ian Gillan's timing about leaving the band was terrible.

0:47:470:47:51

I mean, the band was just on the edge

0:47:510:47:54

of becoming absolutely massive.

0:47:540:47:56

Um...

0:47:560:47:57

And, indeed...

0:47:570:47:59

..Burn, as an album, actually did take advantage of that

0:48:020:48:05

because it's a tremendously good album, um...

0:48:050:48:08

..and the band did take that leap into stadium rock.

0:48:090:48:13

HE PLAYS GUITAR SOLO

0:48:130:48:15

The year before Ian left, we did six American tours.

0:48:560:48:58

It was ridiculous.

0:48:580:49:00

And when Ian did quit, I really thought that was the end of it.

0:49:000:49:02

And then one of our managers, John Coletta,

0:49:020:49:05

showed me a copy of Billboard.

0:49:050:49:06

We had 11 different entries - singles, albums, back albums.

0:49:060:49:10

It was exploding. And that year, 1973,

0:49:100:49:13

we were the top album-selling artists in the United States.

0:49:130:49:16

And he said, "You can't stop now."

0:49:160:49:18

I said, "We just did! We lost our singer and our bass player.

0:49:180:49:21

"How much more final can that be?"

0:49:210:49:23

He said, "Replace them."

0:49:230:49:25

What I'd like to say to all of you is thank you very much,

0:49:250:49:28

you've been great.

0:49:280:49:29

Thank you for everything you've given us in Japan

0:49:290:49:33

and...this is the last night. The end.

0:49:330:49:38

God bless you, thanks a lot.

0:49:380:49:40

CHEERING AND CLAPPING

0:49:400:49:43

One of the reasons Made In Japan is so successful and still sells -

0:49:530:49:58

people still rate it as one of the great live albums, rock albums -

0:49:580:50:04

one of the reasons for that is the brilliance of our producer,

0:50:040:50:07

of Martin Birch.

0:50:070:50:09

Absolutely...under incredibly difficult conditions,

0:50:090:50:13

to produce that.

0:50:130:50:15

Um, no, I think we'd like to try it with the track again.

0:50:150:50:17

What do you think?

0:50:170:50:18

LAUGHTER

0:50:180:50:20

Because Made In Japan had come out so well,

0:50:200:50:23

I think it's regarded by a lot of people

0:50:230:50:25

as a great live album at that point.

0:50:250:50:28

Um...I think it actually enhanced the album Machine Head,

0:50:280:50:32

because it was virtually Machine Head live on stage.

0:50:320:50:35

I look back now only at...it did, it exploded.

0:50:350:50:39

And it was after Ian Gillan actually left

0:50:390:50:43

in...'73, I guess, um...

0:50:430:50:46

..that we became aware of the two versions of Smoke On The Water,

0:50:480:50:54

both in the America top ten at the same time.

0:50:540:50:57

I heard the live version of Smoke On The Water

0:50:570:50:59

in the car, one day, and...yeah...

0:50:590:51:04

# Din-din-din... #

0:51:040:51:05

Live version.

0:51:050:51:07

And Paicey starts and Jon starts and the bass came in

0:51:070:51:11

and I thought, "Wow!"

0:51:110:51:13

And I suddenly felt very proud of that.

0:51:130:51:17

As simple as it is, it was exactly what was needed.

0:51:170:51:20

HE PLAYS GUITAR RIFF FROM "SMOKE ON THE WATER"

0:51:200:51:24

Um...

0:51:240:51:26

I originally wrote it like that, with a kind of...

0:51:350:51:38

HE PLAYS VARIATION ON TUNE

0:51:380:51:40

..with a kind of...

0:51:400:51:41

That didn't, kind of, go down with the others at the time,

0:51:440:51:47

so we kept it to the...

0:51:470:51:48

HE PLAYS ORIGINAL RIFF AGAIN

0:51:480:51:50

CHEERING AND APPLAUSE

0:51:520:51:53

All right, thank you.

0:51:530:51:54

HE PLAYS OPENING BARS OF "GOD SAVE THE QUEEN"

0:52:040:52:07

SONG: Smoke On The Water

0:52:110:52:14

CHEERING AND CLAPPING

0:52:140:52:16

# We all came out to Montreux

0:53:010:53:05

# On the Lake Geneva shoreline

0:53:050:53:08

# To make records with a mobile

0:53:090:53:12

# We didn't have much time

0:53:150:53:18

# Frank Zappa and the Mothers

0:53:180:53:21

# Were at the best place around

0:53:210:53:25

# But some stupid with a flare gun

0:53:260:53:29

# Burned the place to the ground

0:53:300:53:33

# Smoke on the water, fire in the sky

0:53:340:53:40

# Smoke on the water

0:53:430:53:46

# Burn

0:53:470:53:49

# Burning down

0:53:490:53:51

# Ah!

0:53:530:53:56

# Yeah!

0:53:560:53:57

# We're burning down

0:53:580:54:01

# Oh, let me hear ya

0:54:010:54:02

# We ended up at the Grand Hotel

0:54:580:55:02

# It was empty, cold and bare

0:55:020:55:05

# But with the Rolling truck Stones thing just outside

0:55:050:55:10

# Making our music there

0:55:100:55:14

# With a few red lights and a few old beds

0:55:140:55:18

# We make a place to sweat

0:55:180:55:21

# No matter what we get out of this

0:55:220:55:26

# I know, I know we'll never forget

0:55:260:55:31

# Smoke on the water, fire in the sky

0:55:310:55:36

# Smoke on the water

0:55:380:55:42

# Burning down

0:55:450:55:47

# Hey, yeah!

0:55:560:55:59

# And the fire was burning... #

0:56:010:56:03

Here's a funny thing - this is an odd thing,

0:56:060:56:10

but I've noticed that when any guitar player

0:56:100:56:13

goes to redo a track from Machine Head,

0:56:130:56:18

they overdo it.

0:56:180:56:20

And it's not because they're making

0:56:200:56:22

a mistake or anything like that.

0:56:220:56:23

It's really because the music

0:56:230:56:24

is so powerful,

0:56:240:56:26

the memory of the music is so powerful,

0:56:260:56:28

that you just think you have to turn it up louder,

0:56:280:56:30

have more distortion or more power

0:56:300:56:32

and we're often shocked when we go back to the original recordings

0:56:320:56:36

and we say, "Wow - this is actually quite delicate."

0:56:360:56:39

# Yeah...!

0:56:400:56:43

# It's tumbling, tumbling down

0:56:430:56:46

# Baby... #

0:56:460:56:47

Being a drummer, Ian Paice, he was my hero, my idol.

0:56:480:56:52

He was one of my first real influences

0:56:520:56:55

and I listened to that record over and over.

0:56:550:56:59

I always thought Made In Japan was interesting

0:56:590:57:02

because it showed Deep Purple jamming

0:57:020:57:04

and changing the songs, changing up some of the arrangements,

0:57:040:57:07

and captured them on stage where a lot of people feel

0:57:070:57:10

they were absolutely lethal, they did their best work

0:57:100:57:13

and it was just one of those ultimate live albums of the time.

0:57:130:57:18

These guys were just in a different league -

0:57:180:57:20

Deep Purple were better than everybody else.

0:57:200:57:22

APPLAUSE

0:57:580:58:01

Hey! Thank you.

0:58:050:58:07

Thank you all. Thank you. Thank all very much.

0:58:070:58:11

God bless you, you've been fantastic.

0:58:110:58:12

Thank you for coming and we'll see you around sometime.

0:58:120:58:15

Thank you. Thank you all for that.

0:58:150:58:17

Hey!

0:58:170:58:19

MC SPEAKS IN JAPANESE

0:58:220:58:25

..Deep Purple!

0:58:420:58:43

Wahey! Down with the monitors, eh?

0:58:500:58:53

Down with the monitors, mate. Yeah.

0:58:530:58:55

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