Deep Purple Made in Japan [2014, Music Documentary, HDTV 720p]

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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

244
00:18:35,200 --> 00:18:39,320
# Burned the place to the ground

245
00:18:39,320 --> 00:18:44,560
# Smoke on the water... #

246
00:18:44,560 --> 00:18:48,480
It's interesting the way a band looks at its material

247
00:18:48,480 --> 00:18:50,120
when it comes to singles.

248
00:18:52,720 --> 00:18:55,320
Because we weren't really...

249
00:18:55,320 --> 00:18:57,760
It goes without saying, we weren't really a singles band,

250
00:18:57,760 --> 00:19:02,120
it wasn't the kind of thing that we felt comfortable putting

251
00:19:02,120 --> 00:19:07,280
the material into single form, it didn't come easy to us.

252
00:19:09,360 --> 00:19:13,440
But we were writing well by that time and I honestly thought that

253
00:19:13,440 --> 00:19:17,120
we'd written a great single in Never Before.

254
00:19:17,120 --> 00:19:18,520
In fact, to the point that

255
00:19:18,520 --> 00:19:24,040
when we sent it across to Warner Bros in the States...we sent it

256
00:19:24,040 --> 00:19:28,520
with the indication that Never Before would be the single.

257
00:19:28,520 --> 00:19:30,400
It came back with the comment,

258
00:19:30,400 --> 00:19:34,080
"You must be joking. The hit is Smoke On The Water."

259
00:19:34,080 --> 00:19:35,440
To which we said,

260
00:19:35,440 --> 00:19:38,120
"You must be joking, the hit is Never Before."

261
00:19:38,120 --> 00:19:44,240
We honestly didn't think that Smoke On The Water was hit material.

262
00:19:47,160 --> 00:19:48,800
How wrong can you be?

263
00:19:48,800 --> 00:19:51,840
SONG: Never Before

264
00:19:51,840 --> 00:19:53,600
# Somebody

265
00:19:53,600 --> 00:19:55,200
# Somebody

266
00:19:55,200 --> 00:19:56,920
# Come to my side... #

267
00:19:56,920 --> 00:19:59,160
Machine Head, Deep Purple's new album,

268
00:19:59,160 --> 00:20:01,320
in your record shop now on Purple Records.

269
00:20:01,320 --> 00:20:02,480
Where else?

270
00:20:02,480 --> 00:20:07,320
Machine Head came out and it was a reasonable hit, people liked it.

271
00:20:07,320 --> 00:20:11,400
But it wasn't till Made In Japan came out that people actually

272
00:20:11,400 --> 00:20:14,800
absorbed it and registered that it was a good record.

273
00:20:14,800 --> 00:20:18,320
CHEERING AND APPLAUSE

274
00:20:20,400 --> 00:20:23,440
'We did the same songs on stage'

275
00:20:23,440 --> 00:20:27,360
and it seemed to take off that much bigger than Machine Head.

276
00:20:30,840 --> 00:20:32,200
It's nice to be here.

277
00:20:33,840 --> 00:20:36,480
We've had a nice time over the last few days,

278
00:20:36,480 --> 00:20:39,720
I hope you enjoy yourselves.

279
00:20:39,720 --> 00:20:42,600
If we could have a little bit more atmosphere on the lights,

280
00:20:42,600 --> 00:20:43,840
we'd appreciate it.

281
00:20:43,840 --> 00:20:45,400
'I didn't think Machine Head,

282
00:20:45,400 --> 00:20:48,840
'at the time, was anything more special than Fireball'

283
00:20:48,840 --> 00:20:50,320
or In Rock.

284
00:20:51,360 --> 00:20:56,120
And in fact, it wasn't really until we did Made In Japan,

285
00:20:56,120 --> 00:20:59,440
the live album, that it really came to life.

286
00:20:59,440 --> 00:21:00,640
Yeah, it was a big hit

287
00:21:00,640 --> 00:21:05,720
but it was Made In Japan that threw it into the stratosphere.

288
00:21:05,720 --> 00:21:08,480
SONG: Highway Star

289
00:21:13,200 --> 00:21:14,800
All right.

290
00:21:17,080 --> 00:21:20,520
This is a song called Highway Star, this one.

291
00:21:20,520 --> 00:21:26,480
Made In Japan started as an idea from the Japanese record company.

292
00:21:26,480 --> 00:21:30,520
They said, "We want a live album, Japan only."

293
00:21:30,520 --> 00:21:34,360
We hated the thought of live albums, strangely,

294
00:21:34,360 --> 00:21:36,240
for a band that was so good live.

295
00:21:38,040 --> 00:21:41,400
We just thought, "Maybe not."

296
00:21:41,400 --> 00:21:45,440
So, we said, "Only if it only ever comes out in Japan."

297
00:21:45,440 --> 00:21:46,680
Thus the title.

298
00:21:48,520 --> 00:21:50,400
# Nobody gonna take my car

299
00:21:50,400 --> 00:21:52,200
# I'm gonna race it to the ground

300
00:21:53,880 --> 00:21:55,320
# Nobody gonna beat my car

301
00:21:55,320 --> 00:21:57,720
# It's gonna break the speed of sound

302
00:21:59,080 --> 00:22:01,560
# Ooh, it's a killing machine

303
00:22:01,560 --> 00:22:04,400
# It's got everything

304
00:22:04,400 --> 00:22:06,320
# Like a driving power

305
00:22:06,320 --> 00:22:09,200
# Big fat tyres and everything

306
00:22:09,200 --> 00:22:10,440
# I love it

307
00:22:10,440 --> 00:22:11,640
# And I need it

308
00:22:11,640 --> 00:22:12,880
# I bleed it

309
00:22:14,520 --> 00:22:16,360
# Yeah, she turns me on

310
00:22:16,360 --> 00:22:17,400
# Alright

311
00:22:17,400 --> 00:22:19,080
# Hold tight

312
00:22:19,080 --> 00:22:23,960
# I'm a highway star... #

313
00:22:23,960 --> 00:22:26,880
Made In Japan, of course, as a title was a joke

314
00:22:26,880 --> 00:22:31,000
because in England in the '50s, '60s, '70s,

315
00:22:31,000 --> 00:22:33,120
if something was said to be "made in Japan",

316
00:22:33,120 --> 00:22:37,120
it was almost like it was second-rate so, to us, it was like,

317
00:22:37,120 --> 00:22:38,760
"Oh, yes, just made in Japan,"

318
00:22:38,760 --> 00:22:41,800
and it would only ever come out in Japan.

319
00:22:43,200 --> 00:22:44,560
And we eventually heard it

320
00:22:44,560 --> 00:22:47,880
and realised that we had something rather wonderful.

321
00:22:47,880 --> 00:22:49,080
# I love her

322
00:22:49,080 --> 00:22:50,440
# And I need her

323
00:22:50,440 --> 00:22:51,840
# I seed her

324
00:22:53,160 --> 00:22:55,120
# Yeah, she turns me on

325
00:22:55,120 --> 00:22:56,640
# Alright... #

326
00:22:56,640 --> 00:22:58,080
Back in the early '70s...

327
00:22:59,640 --> 00:23:03,680
..live albums were viewed as sort of budget albums.

328
00:23:05,200 --> 00:23:08,120
They were viewed as if you had nothing better to do.

329
00:23:08,120 --> 00:23:13,160
They were...not considered a proper album.

330
00:23:13,160 --> 00:23:15,200
Studio albums were proper albums.

331
00:23:15,200 --> 00:23:17,960
Live albums were things you did on the side.

332
00:23:17,960 --> 00:23:19,560
We were kind of wary of doing that

333
00:23:19,560 --> 00:23:23,360
because we'd been a pretty heavily bootlegged band

334
00:23:23,360 --> 00:23:24,600
for a couple of years.

335
00:23:49,760 --> 00:23:52,920
There was a Japanese record company that wanted to record the live album.

336
00:23:52,920 --> 00:23:55,120
We said, "No, we're not doing that."

337
00:23:56,600 --> 00:23:58,280
They kept on insisting. We said,

338
00:23:58,280 --> 00:24:00,720
"OK, we'll do it in certain conditions.

339
00:24:00,720 --> 00:24:03,920
"A - it only comes out in Japan.

340
00:24:03,920 --> 00:24:06,920
"B - it doesn't come out at all if we don't like it.

341
00:24:06,920 --> 00:24:10,040
"And C - we mix it and have our own engineer record it."

342
00:24:16,440 --> 00:24:19,320
Excellent musicians. What can you say about them?

343
00:24:20,480 --> 00:24:22,800
They were the best at what they did,

344
00:24:22,800 --> 00:24:24,320
without a shadow of a doubt.

345
00:24:24,320 --> 00:24:26,960
I think they influenced a lot of groups over the years.

346
00:24:30,840 --> 00:24:34,040
You know, I went to my first Deep Purple concert in 1973.

347
00:24:34,040 --> 00:24:39,880
February, 1973. It blew my mind. I'd never seen energy at that level.

348
00:24:39,880 --> 00:24:42,920
I'd never seen performance, I'd never seen personality,

349
00:24:42,920 --> 00:24:45,160
like, it was the biggest thing I'd ever seen.

350
00:24:45,160 --> 00:24:47,400
When I was growing up as a kid, I grew up in California,

351
00:24:47,400 --> 00:24:53,600
but the first album that I really got into was Made In Japan.

352
00:24:53,600 --> 00:24:55,920
Which was a double live album.

353
00:24:55,920 --> 00:25:00,880
In the States, Made In Japan was probably one of the highlights.

354
00:25:00,880 --> 00:25:08,440
All the hits that came through America were the ones that we got.

355
00:25:08,440 --> 00:25:11,760
That was another brilliant album that was recorded under

356
00:25:11,760 --> 00:25:16,880
really strange and extreme conditions, you know?

357
00:25:16,880 --> 00:25:18,840
I remember Martin Birch was out.

358
00:25:18,840 --> 00:25:21,400
We put the control room backstage,

359
00:25:21,400 --> 00:25:25,800
so he had no physical eye contact with the band.

360
00:25:25,800 --> 00:25:30,600
It was all just listening. We found that really strange.

361
00:25:30,600 --> 00:25:31,760
But that turned out...

362
00:25:33,120 --> 00:25:35,760
..fantastic, for the time. Brilliant album.

363
00:26:26,640 --> 00:26:30,040
Maybe Ritchie and Ian weren't getting on well off stage,

364
00:26:30,040 --> 00:26:34,600
but on stage there was still a massive important

365
00:26:34,600 --> 00:26:36,640
amount of chemistry.

366
00:26:36,640 --> 00:26:38,440
# Nobody gonna take my car

367
00:26:38,440 --> 00:26:41,560
# It's gonna break the speed of sound

368
00:26:41,560 --> 00:26:43,920
# Ooh, it's killing machine

369
00:26:43,920 --> 00:26:47,080
# It's got everything

370
00:26:47,080 --> 00:26:48,640
# Like a driving power

371
00:26:48,640 --> 00:26:51,520
# Big fat tyres and everything

372
00:26:51,520 --> 00:26:52,760
# I love her

373
00:26:52,760 --> 00:26:53,920
# And I need her

374
00:26:53,920 --> 00:26:55,320
# I seed her

375
00:26:56,560 --> 00:26:58,480
# Yeah, she turns me on

376
00:26:58,480 --> 00:27:00,880
# All right, hold on tight

377
00:27:00,880 --> 00:27:04,320
# I'm a highway star

378
00:27:04,320 --> 00:27:07,160
# I'm a highway star

379
00:27:07,160 --> 00:27:11,840
# I'm a highway star

380
00:27:13,440 --> 00:27:16,000
# Yes, I am

381
00:27:20,680 --> 00:27:22,000
# Oh, yeah! #

382
00:27:25,280 --> 00:27:28,280
I never saw either Zeppelin or Purple when I was a kid,

383
00:27:28,280 --> 00:27:31,320
when they were in their heyday when they were all firing away.

384
00:27:31,320 --> 00:27:33,040
I never saw Purple or Zeppelin.

385
00:27:33,040 --> 00:27:38,400
So all I had to go on was their respective live things.

386
00:27:40,000 --> 00:27:43,320
On that score, Purple kicked their pants.

387
00:27:43,320 --> 00:27:47,920
I think that Made In Japan might be really, for a lot of people,

388
00:27:47,920 --> 00:27:52,600
the quintessential Deep Purple record, especially from that time.

389
00:27:52,600 --> 00:27:55,560
One of the greatest, if not the greatest live album ever recorded.

390
00:27:55,560 --> 00:27:59,400
Of course, Martin Birch who worked with Purple

391
00:27:59,400 --> 00:28:05,000
on just about everything, was our producer in Maiden for many years.

392
00:28:05,000 --> 00:28:08,360
So you'd sit down over a few beers and talk to Martin

393
00:28:08,360 --> 00:28:11,520
and you'd get the lowdown. You'd think, "Wow, it really was live.

394
00:28:11,520 --> 00:28:14,920
"There were no overdubs. It was as was."

395
00:28:14,920 --> 00:28:17,200
That's what makes it even more incredible,

396
00:28:17,200 --> 00:28:19,680
it was done in eight track or something.

397
00:28:19,680 --> 00:28:20,760
Come on, now.

398
00:28:20,760 --> 00:28:23,440
Everybody, shake your hands like this.

399
00:28:23,440 --> 00:28:25,360
That's nice. Come on, now.

400
00:28:25,360 --> 00:28:26,600
Everybody!

401
00:28:26,600 --> 00:28:29,920
# Ah. #

402
00:28:29,920 --> 00:28:31,680
Come on, now. Clap your hands.

403
00:28:31,680 --> 00:28:32,800
RHYTHMIC CLAPPING

404
00:28:34,120 --> 00:28:36,080
I want everybody to clap their hands.

405
00:28:37,720 --> 00:28:38,760
Really loud, now.

406
00:28:45,240 --> 00:28:49,680
Every single live version, every single recording is different,

407
00:28:49,680 --> 00:28:54,240
so if you hear three nights in Japan

408
00:28:54,240 --> 00:28:57,640
in August '72, Strange Kind Of Woman,

409
00:28:57,640 --> 00:29:00,400
Child Of Time, whatever, they're all different from each other.

410
00:29:00,400 --> 00:29:03,560
Ritchie plays different solos, Ian sings different phrases,

411
00:29:03,560 --> 00:29:06,200
Ian Paice plays different drum fills.

412
00:29:06,200 --> 00:29:10,400
It's the coolest thing cos you never know exactly what's coming next.

413
00:29:10,400 --> 00:29:11,840
SONG: Space Truckin'

414
00:29:11,840 --> 00:29:15,880
# Well, we had a lot of luck on Venus

415
00:29:15,880 --> 00:29:19,320
# We always had a ball on Mars

416
00:29:19,320 --> 00:29:22,840
# We meeting all the groovy people

417
00:29:22,840 --> 00:29:26,160
# We've rocked the Milky Way so far

418
00:29:26,160 --> 00:29:29,600
# We rocked around with Borealice

419
00:29:29,600 --> 00:29:32,560
# We're space truckin' round the stars

420
00:29:34,680 --> 00:29:36,280
# Come on

421
00:29:36,280 --> 00:29:37,720
# Come on

422
00:29:37,720 --> 00:29:39,320
# Come on

423
00:29:39,320 --> 00:29:41,400
# Let's go, space truckin'

424
00:29:41,400 --> 00:29:43,080
# Come on

425
00:29:43,080 --> 00:29:44,760
# Come on

426
00:29:44,760 --> 00:29:45,800
# Come on

427
00:29:45,800 --> 00:29:47,160
# Yeah, yeah, yeah... #

428
00:29:49,000 --> 00:29:53,080
I think Made In Japan is possibly

429
00:29:53,080 --> 00:29:56,760
one of the greatest live rock albums ever made.

430
00:29:56,760 --> 00:29:58,400
I'll tell you why.

431
00:29:58,400 --> 00:30:02,920
Firstly, because there was nothing like it that ever came out before.

432
00:30:02,920 --> 00:30:07,480
Secondly, it showed you the difference between a band

433
00:30:07,480 --> 00:30:09,120
in the studio and a band live.

434
00:30:10,320 --> 00:30:11,720
# Come on

435
00:30:11,720 --> 00:30:13,520
# Come on

436
00:30:13,520 --> 00:30:14,880
# Come on

437
00:30:14,880 --> 00:30:16,800
# Let's go space truckin'

438
00:30:16,800 --> 00:30:18,400
# Come on

439
00:30:18,400 --> 00:30:20,160
# Come on

440
00:30:20,160 --> 00:30:21,200
# Come on... #

441
00:30:25,560 --> 00:30:27,360
We recorded three shows.

442
00:30:28,720 --> 00:30:32,120
By that time the anarchy that was happening on stage

443
00:30:32,120 --> 00:30:34,480
had coalesced into certain...

444
00:30:34,480 --> 00:30:38,840
You do something on stage as an adlib.

445
00:30:38,840 --> 00:30:42,080
If it works, you tend to do it another night.

446
00:30:42,080 --> 00:30:47,560
So all these little bits and pieces of punctuation between the songs

447
00:30:47,560 --> 00:30:50,720
and during the songs were becoming second nature to us.

448
00:30:55,160 --> 00:30:56,720
# Come on

449
00:30:56,720 --> 00:30:58,120
# Come on

450
00:30:58,120 --> 00:30:59,840
# Come on... #

451
00:31:01,880 --> 00:31:06,400
To me, that is one of the most missed things in rock 'n' roll -

452
00:31:06,400 --> 00:31:10,320
the thing that it's about a moment up on stage.

453
00:31:10,320 --> 00:31:13,440
You don't know where it's going next.

454
00:31:13,440 --> 00:31:16,200
The interplay between Ritchie and Gillan, for example.

455
00:31:16,200 --> 00:31:18,600
Guitar, voice, guitar, voice, that kind of thing.

456
00:31:18,600 --> 00:31:20,400
then the Jon and Ritchie thing.

457
00:31:23,760 --> 00:31:27,080
It was just pure good fortune that really

458
00:31:27,080 --> 00:31:32,480
we recorded that album at really the peak of our performing abilities.

459
00:31:33,880 --> 00:31:37,920
Ritchie would solo until he didn't want to solo any more.

460
00:31:37,920 --> 00:31:40,280
If you know what to look for, he'd turn around,

461
00:31:40,280 --> 00:31:41,600
he'd raise his right hand.

462
00:31:41,600 --> 00:31:44,720
He'd look over at Ian Paice and then, within two or four bars,

463
00:31:44,720 --> 00:31:46,240
he'd go into the next part.

464
00:31:49,200 --> 00:31:53,480
A band on fire, I would say. A band absolutely at the top of its game.

465
00:31:53,480 --> 00:31:55,200
That's why I loved that album.

466
00:31:56,240 --> 00:32:03,200
It's a beautiful snapshot of the band in all its glory playing live,

467
00:32:03,200 --> 00:32:07,240
firing off each other, listening to each other,

468
00:32:07,240 --> 00:32:11,600
working it out live on stage, on the night.

469
00:32:11,600 --> 00:32:15,800
It wasn't really until we got back to England and put the tapes on...

470
00:32:17,240 --> 00:32:19,000
Wow.

471
00:32:19,000 --> 00:32:20,040
They sound great.

472
00:32:22,120 --> 00:32:23,600
Maybe this should be out.

473
00:32:24,840 --> 00:32:27,320
By that time, the American label, Warner Brothers,

474
00:32:27,320 --> 00:32:29,400
weren't interested in a live album.

475
00:32:30,600 --> 00:32:33,400
They wanted the next studio album which was, Who Do We Think We Are.

476
00:32:37,440 --> 00:32:39,840
Back then you don't think you're going to last very long.

477
00:32:39,840 --> 00:32:42,200
You think you're only as good as your last record.

478
00:32:42,200 --> 00:32:46,320
If you're lucky, you can get another couple of years out of it

479
00:32:46,320 --> 00:32:48,080
and then, who knows what?

480
00:32:51,080 --> 00:32:53,680
# Yeah, yeah, yeah, yeah, yeah... #

481
00:32:58,760 --> 00:33:02,080
One of the great Purple classics is on Who Do We Think We Are -

482
00:33:02,080 --> 00:33:04,560
Woman From Tokyo.

483
00:33:04,560 --> 00:33:07,440
It's made under very difficult circumstances.

484
00:33:10,240 --> 00:33:13,240
We had In Rock then we had Fireball then Machine Head.

485
00:33:13,240 --> 00:33:15,280
Then we had Who Do We Think We Are.

486
00:33:15,280 --> 00:33:17,720
Again, a little more introvert.

487
00:33:17,720 --> 00:33:19,520
A lot more difficult to record,

488
00:33:19,520 --> 00:33:22,960
which I think is probably the problem with Who Do We Think We Are.

489
00:33:22,960 --> 00:33:27,960
We were in a villa just outside Rome, which had been chosen for us

490
00:33:27,960 --> 00:33:32,640
to record in because it had a wonderful room to record.

491
00:33:32,640 --> 00:33:35,760
What they hadn't done was measure the size of an archway

492
00:33:35,760 --> 00:33:38,840
through which the mobile unit would have had to have gone

493
00:33:38,840 --> 00:33:43,840
to make it nice and easy. The mobile unit wouldn't fit under the archway.

494
00:33:43,840 --> 00:33:47,440
So cables had to be brought in specially. Special long cables.

495
00:33:47,440 --> 00:33:50,120
We staggered through, we got an album out of it.

496
00:34:03,040 --> 00:34:07,560
Made In Japan was really the Machine Head record.

497
00:34:07,560 --> 00:34:10,080
If we waited till after Who Do We Think We Are,

498
00:34:10,080 --> 00:34:11,440
it would have been out of date,

499
00:34:11,440 --> 00:34:13,800
so we really wanted to put it out there.

500
00:34:20,640 --> 00:34:22,680
Which they eventually did, but only

501
00:34:22,680 --> 00:34:27,120
because our management started importing copies into the States.

502
00:34:27,120 --> 00:34:30,880
Warner Brothers realised that they were losing out.

503
00:35:11,080 --> 00:35:14,960
Who Do We Think We Are. I think on that album... It wasn't that good.

504
00:35:14,960 --> 00:35:16,000
It started off OK.

505
00:35:18,920 --> 00:35:21,160
But there were cracks showing a little bit.

506
00:35:21,160 --> 00:35:24,120
I think Ritchie and Ian weren't getting on too well.

507
00:35:27,400 --> 00:35:31,600
I don't know why...that happened.

508
00:35:31,600 --> 00:35:33,680
But, yeah, the cracks were starting to appear.

509
00:35:33,680 --> 00:35:39,200
Somewhere between Fireball and Who Do We Think We Are,

510
00:35:39,200 --> 00:35:42,720
going through the Machine Head period,

511
00:35:42,720 --> 00:35:47,280
Ritchie and Ian Gillan agreed to disagree.

512
00:35:49,040 --> 00:35:52,880
Something happened. I'm not sure what it was.

513
00:35:52,880 --> 00:35:59,320
I'm not sure, actually, that either of them could now iterate exactly

514
00:35:59,320 --> 00:36:03,160
what it was that went down between the two of them, but something did.

515
00:36:14,880 --> 00:36:18,880
We'd done about as much as we could do with that kind of rock,

516
00:36:18,880 --> 00:36:20,240
as far as I could see.

517
00:36:21,360 --> 00:36:24,520
My idea was that there was far too much talent in the band

518
00:36:24,520 --> 00:36:27,560
for it to remain static.

519
00:36:27,560 --> 00:36:30,800
I thought we were compromising ourselves.

520
00:36:30,800 --> 00:36:33,800
I thought we were losing our integrity.

521
00:36:33,800 --> 00:36:37,480
My decision to leave the band was in '72.

522
00:36:37,480 --> 00:36:42,760
Confused, young, unfocused, frustrated.

523
00:36:42,760 --> 00:36:45,320
The thing that a lot of people forget is that he was not fired.

524
00:36:45,320 --> 00:36:46,520
He left.

525
00:36:46,520 --> 00:36:52,000
He wrote us a letter saying that he no longer agreed with

526
00:36:52,000 --> 00:36:55,360
the direction that the band was taking.

527
00:36:55,360 --> 00:36:57,440
I do have to say this -

528
00:36:57,440 --> 00:37:01,240
that I think that if our management had understood

529
00:37:01,240 --> 00:37:03,400
that it was actually a cry for help

530
00:37:03,400 --> 00:37:06,160
that he would not have been out of the band.

531
00:37:06,160 --> 00:37:10,800
Something had been thrown into the pot to change the formula.

532
00:37:10,800 --> 00:37:12,640
I don't know what it was,

533
00:37:12,640 --> 00:37:17,760
but it seemed to be not the Deep Purple that I'd joined in '69.

534
00:37:17,760 --> 00:37:20,720
It's not the band it was. You suddenly think, well, I don't know.

535
00:37:20,720 --> 00:37:23,440
I've always made my decisions on the basis

536
00:37:23,440 --> 00:37:26,480
of I've got to be enjoying what I'm doing.

537
00:37:26,480 --> 00:37:29,600
I didn't know how to fix it, so I thought I'd quit.

538
00:37:29,600 --> 00:37:33,960
Broke my heart at the time. Didn't want that to happen one bit.

539
00:37:33,960 --> 00:37:35,560
I was...

540
00:37:35,560 --> 00:37:39,840
Even through the difficulties with Ritchie and Gillan...

541
00:37:39,840 --> 00:37:42,160
I still thought we had a marvellous band.

542
00:37:42,160 --> 00:37:44,400
Ladies and gentlemen, Deep Purple.

543
00:37:44,400 --> 00:37:45,480
CHEERING

544
00:37:55,080 --> 00:37:57,160
- ROGER:
- In the band, it was widely presumed

545
00:37:57,160 --> 00:37:58,880
that Ritchie was going to leave

546
00:37:58,880 --> 00:38:01,040
and take Paicey with him.

547
00:38:01,040 --> 00:38:03,800
Gillan had written his letter of resignation...

548
00:38:05,040 --> 00:38:06,080
..which left Jon and I.

549
00:38:10,080 --> 00:38:11,840
Ritchie is one of these guys,

550
00:38:11,840 --> 00:38:14,320
I think he's always looking for something new.

551
00:38:14,320 --> 00:38:18,920
Unbeknownst to us, he'd been secretly jamming

552
00:38:18,920 --> 00:38:21,000
with Phil Lynott from Thin Lizzy.

553
00:38:21,000 --> 00:38:23,120
He wanted to do a three piece, I think.

554
00:38:27,960 --> 00:38:32,080
I wanted to form a band with Phil Lynott from Thin Lizzy.

555
00:38:32,080 --> 00:38:36,720
I said to Ian Paice, "Let's have a three piece

556
00:38:36,720 --> 00:38:41,120
"and we'll play some kind of Hendrix blues stuff."

557
00:38:42,640 --> 00:38:43,680
BLUES SOLO

558
00:39:00,160 --> 00:39:02,880
Our two managers, Tony Edwards and John Coletta,

559
00:39:02,880 --> 00:39:08,520
summoned Jon and I to a restaurant one night in London and said,

560
00:39:08,520 --> 00:39:10,600
"This is crazy.

561
00:39:10,600 --> 00:39:11,920
"The band's breaking up

562
00:39:11,920 --> 00:39:15,080
"and you're the biggest band in the world right now.

563
00:39:16,240 --> 00:39:18,840
"Maybe you can persuade Paicey to stay with you,

564
00:39:18,840 --> 00:39:22,400
"and we'll get a new lead singer and a new guitarist and carry on."

565
00:39:23,680 --> 00:39:27,600
As painful as that was to understand, why not?

566
00:39:27,600 --> 00:39:31,080
We said, "Yeah, let's do that."

567
00:39:31,080 --> 00:39:35,440
Our first job, Jon and I, was to talk Paicey into staying.

568
00:39:35,440 --> 00:39:40,000
At that point, Ian was involved.

569
00:39:40,000 --> 00:39:42,240
He said, "You know what?

570
00:39:42,240 --> 00:39:46,040
What would you want to stay in Deep Purple,

571
00:39:46,040 --> 00:39:49,800
Ian's leaving, what's the problem with the band?

572
00:39:49,800 --> 00:39:52,560
Why won't you stay with Purple?

573
00:39:52,560 --> 00:39:55,160
I said, "Well, OK.

574
00:39:55,160 --> 00:39:58,400
"I would expect Roger maybe to leave

575
00:39:58,400 --> 00:40:02,840
"because I wasn't particularly into what he was doing."

576
00:40:02,840 --> 00:40:06,600
I said, "But that's not fair, because Roger's done nothing wrong.

577
00:40:06,600 --> 00:40:07,880
"I'd rather leave the band,

578
00:40:07,880 --> 00:40:13,600
"get another thing going than fire somebody who's done nothing wrong."

579
00:40:13,600 --> 00:40:14,760
The following...

580
00:40:14,760 --> 00:40:18,720
I think in January, '73, with the Scandinavian tour,

581
00:40:18,720 --> 00:40:21,080
we got Paicey in the dressing room afterwards and said,

582
00:40:21,080 --> 00:40:25,440
"Look, stick with us, we'll get a new guitarist, a new singer."

583
00:40:25,440 --> 00:40:26,760
He said he'd think about it.

584
00:40:26,760 --> 00:40:29,320
You have to remember, I was very much a kid then.

585
00:40:29,320 --> 00:40:32,400
I was a kid in a candy store. My life was one big party.

586
00:40:32,400 --> 00:40:35,320
I really didn't worry about what was going to happen the next day,

587
00:40:35,320 --> 00:40:36,360
the next gig.

588
00:40:36,360 --> 00:40:40,920
That sort of responsibility was taken on by Ritchie and Jon,

589
00:40:40,920 --> 00:40:44,320
who were a little further along life's highway than I was.

590
00:40:44,320 --> 00:40:48,360
We did a Japanese tour. Then two American tours.

591
00:40:51,120 --> 00:40:54,000
It was on the second American tour that I realised...

592
00:40:56,520 --> 00:40:58,280
..that no-one was talking to me.

593
00:40:58,280 --> 00:40:59,480
# Ah

594
00:40:59,480 --> 00:41:02,080
# Ah-ah-ah-ah-ah-ah

595
00:41:02,080 --> 00:41:04,240
# Ah-ah-ah-ah-ah-ah

596
00:41:04,240 --> 00:41:05,280
# Ah-ah

597
00:41:09,680 --> 00:41:11,480
# On my soul

598
00:41:12,960 --> 00:41:15,520
# I love you

599
00:41:15,520 --> 00:41:18,840
# Yeah

600
00:41:18,840 --> 00:41:20,560
# Ow

601
00:41:22,360 --> 00:41:24,200
# Ah. #

602
00:41:25,800 --> 00:41:27,160
CHEERING

603
00:41:28,240 --> 00:41:31,480
Ian said, "OK, we'll fire Roger if you're going to stay."

604
00:41:32,920 --> 00:41:35,160
And I... I felt really awkward.

605
00:41:35,160 --> 00:41:37,800
I said, "Em...OK."

606
00:41:38,880 --> 00:41:42,160
It was a kind of weird feeling. I was kind of out in the cold.

607
00:41:43,440 --> 00:41:46,000
I couldn't put my finger on what was going on.

608
00:41:46,000 --> 00:41:47,880
We were in Jacksonville, Florida.

609
00:41:49,120 --> 00:41:51,520
Came back to the motel we were staying in.

610
00:41:51,520 --> 00:41:54,520
I knocked on Tony Edwards' door, our manager at the time.

611
00:41:54,520 --> 00:41:57,280
He said, "What do you want?" I said, "What's going on?"

612
00:41:57,280 --> 00:41:59,520
He said, "Nothing."

613
00:41:59,520 --> 00:42:01,240
I said, "Something's going on."

614
00:42:01,240 --> 00:42:02,680
He said, "No, no, no, no.

615
00:42:02,680 --> 00:42:04,320
"Nothing's going on."

616
00:42:04,320 --> 00:42:08,880
I said, "Well, I'm not leaving this room until you level with me."

617
00:42:08,880 --> 00:42:10,960
He said, "OK. They want you to leave the band."

618
00:42:14,800 --> 00:42:17,880
"Why?" He said, "I don't know, that's the way it is.

619
00:42:17,880 --> 00:42:21,400
"Ritchie's decided he'll stay with the band on the condition

620
00:42:21,400 --> 00:42:22,520
"that you leave."

621
00:42:26,680 --> 00:42:28,440
Pretty hurtful thing to hear.

622
00:42:28,440 --> 00:42:30,360
SONG: Child In Time

623
00:42:31,800 --> 00:42:33,920
# Sweet child in time

624
00:42:35,080 --> 00:42:37,560
# You'll see the line

625
00:42:38,800 --> 00:42:40,960
# The line that's drawn between

626
00:42:42,320 --> 00:42:45,600
# The good and the bad... #

627
00:42:45,600 --> 00:42:47,880
Maybe I did the wrong thing, but I said,

628
00:42:47,880 --> 00:42:49,760
"Well, you're not going to fire me.

629
00:42:51,000 --> 00:42:54,480
"I'll keep my dignity and I'll leave of my own accord.

630
00:42:54,480 --> 00:42:57,160
"Why didn't anyone tell me this before?"

631
00:42:57,160 --> 00:42:59,360
They said, "Because we wanted to finish the tour.

632
00:42:59,360 --> 00:43:03,200
"We didn't want you leaving in the middle of a tour."

633
00:43:03,200 --> 00:43:08,000
I thought, "Fuck them. I'll fulfil my duty. I'll be the gentleman here.

634
00:43:08,000 --> 00:43:10,200
"I'll fulfil my duties, and then I'm gone."

635
00:43:11,200 --> 00:43:13,080
So the rest of that tour...

636
00:43:13,080 --> 00:43:16,040
Actually, it was the Japanese tour was the last one.

637
00:43:17,120 --> 00:43:20,480
I remember squaring with Jon Lord on the flight to Tokyo...

638
00:43:22,240 --> 00:43:24,040
..he was pretty embarrassed and upset.

639
00:43:25,040 --> 00:43:28,320
He said, "Well, sorry, mate, that's the way it is."

640
00:43:28,320 --> 00:43:32,840
I felt really let down, actually by Jon and Paicey in particular.

641
00:43:32,840 --> 00:43:34,880
More than Ritchie, strangely enough.

642
00:43:37,320 --> 00:43:40,280
Ritchie had always been on his own course anyway.

643
00:43:43,720 --> 00:43:45,960
Ritchie said to me on the final night...

644
00:43:47,640 --> 00:43:50,880
We passed on the stairs leading up to the dressing rooms,

645
00:43:50,880 --> 00:43:55,120
he said, "Just want to say it's not personal, it's business."

646
00:43:56,600 --> 00:43:57,680
Then he carried on.

647
00:43:59,800 --> 00:44:01,480
# Whoa-oh

648
00:44:01,480 --> 00:44:05,200
# Ah

649
00:44:05,200 --> 00:44:09,120
# Ah

650
00:44:09,120 --> 00:44:11,920
# Ah

651
00:44:11,920 --> 00:44:16,200
# Ah, I wanna hear you sing... #

652
00:44:16,200 --> 00:44:18,560
Roger was let go and I stayed with the band.

653
00:44:18,560 --> 00:44:21,360
We got in another bass player and another singer.

654
00:44:22,600 --> 00:44:26,560
I wanted to go more toward the melodic content area,

655
00:44:26,560 --> 00:44:28,560
which is what I'm doing now as well.

656
00:44:30,120 --> 00:44:33,600
# Ah

657
00:44:33,600 --> 00:44:37,840
# Ah

658
00:44:37,840 --> 00:44:40,680
# Ah

659
00:44:40,680 --> 00:44:42,280
# Oh-oh-ooh

660
00:44:42,280 --> 00:44:44,800
# Yeah, yeah... #

661
00:44:44,800 --> 00:44:47,800
It was like late '72 or even middle of '72...

662
00:44:49,240 --> 00:44:52,400
Trapeze were playing at the Whisky a Go Go,

663
00:44:52,400 --> 00:44:54,080
three nights or four nights.

664
00:44:54,080 --> 00:44:59,960
I noticed, in the audience, Jon Lord was there one night,

665
00:44:59,960 --> 00:45:01,880
Ian Paice was there,

666
00:45:01,880 --> 00:45:03,640
Ritchie was there, like, separately.

667
00:45:03,640 --> 00:45:07,200
And I just figured these guys were really good fans of Trapeze,

668
00:45:07,200 --> 00:45:09,880
or they were becoming fans of Trapeze -

669
00:45:09,880 --> 00:45:12,760
very vulnerable and naive back then.

670
00:45:12,760 --> 00:45:14,480
And, eh...

671
00:45:14,480 --> 00:45:16,760
Same thing happened in The Marquee in London,

672
00:45:16,760 --> 00:45:20,800
and you know...they each came a couple of times,

673
00:45:20,800 --> 00:45:22,480
and...you know...

674
00:45:22,480 --> 00:45:28,720
And then, you know, I had a feeling they were there for another reason.

675
00:45:28,720 --> 00:45:30,760
I just didn't realise that, at that moment,

676
00:45:30,760 --> 00:45:32,360
they were going to ask me to join.

677
00:45:38,400 --> 00:45:41,440
We'd all drifted apart, personally.

678
00:45:41,440 --> 00:45:44,880
When there were no girlfriends, everyone would,

679
00:45:44,880 --> 00:45:47,480
um...travel together.

680
00:45:47,480 --> 00:45:50,120
Gradually - I was probably the worst culprit.

681
00:45:50,120 --> 00:45:52,560
There's no finger-pointing here,

682
00:45:52,560 --> 00:45:54,880
or anyone to blame or anything like that,

683
00:45:54,880 --> 00:45:56,480
except maybe me.

684
00:45:56,480 --> 00:46:00,640
It was...me as much as anyone, or probably more.

685
00:46:00,640 --> 00:46:03,200
But the personal touch had gone.

686
00:46:04,640 --> 00:46:06,920
So I didn't really know that Roger was leaving

687
00:46:06,920 --> 00:46:10,520
until it had happened, on the plane home.

688
00:46:12,840 --> 00:46:15,160
I mean, I was very pleased with the music, it was good.

689
00:46:15,160 --> 00:46:17,840
I was not in any way ashamed of it.

690
00:46:17,840 --> 00:46:21,680
But I thought there was a time to add a new dimension to it

691
00:46:21,680 --> 00:46:23,720
or to adopt a slightly different approach,

692
00:46:23,720 --> 00:46:25,920
without losing our identity,

693
00:46:25,920 --> 00:46:27,680
but just naturally progress it.

694
00:46:27,680 --> 00:46:29,560
Otherwise, we'd have faded away.

695
00:46:29,560 --> 00:46:31,400
This is why I...

696
00:46:31,400 --> 00:46:34,240
Nobody really wanted to do that, so that's why we left.

697
00:46:36,080 --> 00:46:38,440
I mean, I left in, what, June?

698
00:46:38,440 --> 00:46:44,720
And I think it was July or August that Billboard announced

699
00:46:44,720 --> 00:46:47,520
the number one selling artists -

700
00:46:47,520 --> 00:46:50,760
we had two awards, number one band and number one album.

701
00:46:52,200 --> 00:46:55,520
And, uh...I was in the office one day

702
00:46:55,520 --> 00:46:58,440
and I saw the billboard with the announcement and I looked at it -

703
00:46:58,440 --> 00:47:02,800
a huge, great photograph showing Coverdale and Hughes.

704
00:47:02,800 --> 00:47:06,880
And I just went, "That's...that's really the icing on the cake.

705
00:47:06,880 --> 00:47:10,040
"That...that was my success.

706
00:47:10,040 --> 00:47:12,040
"And not only have I been kicked out of the band,

707
00:47:12,040 --> 00:47:14,000
"but that's been taken away from me as well."

708
00:47:14,000 --> 00:47:17,040
I got...we all got watches with "Mark II" on it.

709
00:47:17,040 --> 00:47:18,560
And I'm going, "Well, this is nice,

710
00:47:18,560 --> 00:47:20,680
"but this surely should be Roger's watch."

711
00:47:20,680 --> 00:47:23,600
I was getting plaques, I think I got a couple of plaques

712
00:47:23,600 --> 00:47:26,320
from Who Do You Think We Are?

713
00:47:26,320 --> 00:47:28,280
However, I was mature enough to realise

714
00:47:28,280 --> 00:47:31,120
that it wasn't Coverdale's fault or Glenn Hughes' fault

715
00:47:31,120 --> 00:47:34,560
any more than it was my fault when they got in Nick Simper.

716
00:47:34,560 --> 00:47:37,640
It wasn't really uncomfortable. It was just the way it was, you know?

717
00:47:37,640 --> 00:47:42,080
There was no point in holding grudges like that.

718
00:47:42,080 --> 00:47:43,120
I think, em...

719
00:47:44,880 --> 00:47:47,240
..Ian's timing,

720
00:47:47,240 --> 00:47:51,120
Ian Gillan's timing about leaving the band was terrible.

721
00:47:51,120 --> 00:47:54,080
I mean, the band was just on the edge

722
00:47:54,080 --> 00:47:56,200
of becoming absolutely massive.

723
00:47:56,200 --> 00:47:57,800
Um...

724
00:47:57,800 --> 00:47:59,360
And, indeed...

725
00:48:02,160 --> 00:48:05,000
..Burn, as an album, actually did take advantage of that

726
00:48:05,000 --> 00:48:08,080
because it's a tremendously good album, um...

727
00:48:09,120 --> 00:48:13,400
..and the band did take that leap into stadium rock.

728
00:48:13,400 --> 00:48:15,800
HE PLAYS GUITAR SOLO

729
00:48:56,160 --> 00:48:58,680
The year before Ian left, we did six American tours.

730
00:48:58,680 --> 00:49:00,160
It was ridiculous.

731
00:49:00,160 --> 00:49:02,800
And when Ian did quit, I really thought that was the end of it.

732
00:49:02,800 --> 00:49:05,120
And then one of our managers, John Coletta,

733
00:49:05,120 --> 00:49:06,640
showed me a copy of Billboard.

734
00:49:06,640 --> 00:49:10,840
We had 11 different entries - singles, albums, back albums.

735
00:49:10,840 --> 00:49:13,440
It was exploding. And that year, 1973,

736
00:49:13,440 --> 00:49:16,120
we were the top album-selling artists in the United States.

737
00:49:16,120 --> 00:49:18,040
And he said, "You can't stop now."

738
00:49:18,040 --> 00:49:21,760
I said, "We just did! We lost our singer and our bass player.

739
00:49:21,760 --> 00:49:23,640
"How much more final can that be?"

740
00:49:23,640 --> 00:49:25,960
He said, "Replace them."

741
00:49:25,960 --> 00:49:28,840
What I'd like to say to all of you is thank you very much,

742
00:49:28,840 --> 00:49:29,960
you've been great.

743
00:49:29,960 --> 00:49:33,520
Thank you for everything you've given us in Japan

744
00:49:33,520 --> 00:49:38,480
and...this is the last night. The end.

745
00:49:38,480 --> 00:49:40,760
God bless you, thanks a lot.

746
00:49:40,760 --> 00:49:43,440
CHEERING AND CLAPPING

747
00:49:53,720 --> 00:49:58,240
One of the reasons Made In Japan is so successful and still sells -

748
00:49:58,240 --> 00:50:04,120
people still rate it as one of the great live albums, rock albums -

749
00:50:04,120 --> 00:50:07,960
one of the reasons for that is the brilliance of our producer,

750
00:50:07,960 --> 00:50:09,040
of Martin Birch.

751
00:50:09,040 --> 00:50:13,280
Absolutely...under incredibly difficult conditions,

752
00:50:13,280 --> 00:50:15,240
to produce that.

753
00:50:15,240 --> 00:50:17,800
Um, no, I think we'd like to try it with the track again.

754
00:50:17,800 --> 00:50:18,840
What do you think?

755
00:50:18,840 --> 00:50:20,120
LAUGHTER

756
00:50:20,120 --> 00:50:23,920
Because Made In Japan had come out so well,

757
00:50:23,920 --> 00:50:25,720
I think it's regarded by a lot of people

758
00:50:25,720 --> 00:50:28,040
as a great live album at that point.

759
00:50:28,040 --> 00:50:32,320
Um...I think it actually enhanced the album Machine Head,

760
00:50:32,320 --> 00:50:35,200
because it was virtually Machine Head live on stage.

761
00:50:35,200 --> 00:50:39,760
I look back now only at...it did, it exploded.

762
00:50:39,760 --> 00:50:43,280
And it was after Ian Gillan actually left

763
00:50:43,280 --> 00:50:46,760
in...'73, I guess, um...

764
00:50:48,200 --> 00:50:54,600
..that we became aware of the two versions of Smoke On The Water,

765
00:50:54,600 --> 00:50:57,760
both in the America top ten at the same time.

766
00:50:57,760 --> 00:50:59,680
I heard the live version of Smoke On The Water

767
00:50:59,680 --> 00:51:04,280
in the car, one day, and...yeah...

768
00:51:04,280 --> 00:51:05,640
# Din-din-din... #

769
00:51:05,640 --> 00:51:07,040
Live version.

770
00:51:07,040 --> 00:51:11,160
And Paicey starts and Jon starts and the bass came in

771
00:51:11,160 --> 00:51:13,680
and I thought, "Wow!"

772
00:51:13,680 --> 00:51:17,080
And I suddenly felt very proud of that.

773
00:51:17,080 --> 00:51:20,760
As simple as it is, it was exactly what was needed.

774
00:51:20,760 --> 00:51:24,560
HE PLAYS GUITAR RIFF FROM "SMOKE ON THE WATER"

775
00:51:24,560 --> 00:51:26,040
Um...

776
00:51:35,680 --> 00:51:38,040
I originally wrote it like that, with a kind of...

777
00:51:38,040 --> 00:51:40,400
HE PLAYS VARIATION ON TUNE

778
00:51:40,400 --> 00:51:41,560
..with a kind of...

779
00:51:44,440 --> 00:51:47,000
That didn't, kind of, go down with the others at the time,

780
00:51:47,000 --> 00:51:48,240
so we kept it to the...

781
00:51:48,240 --> 00:51:50,640
HE PLAYS ORIGINAL RIFF AGAIN

782
00:51:52,000 --> 00:51:53,320
CHEERING AND APPLAUSE

783
00:51:53,320 --> 00:51:54,800
All right, thank you.

784
00:52:04,760 --> 00:52:07,960
HE PLAYS OPENING BARS OF "GOD SAVE THE QUEEN"

785
00:52:11,320 --> 00:52:14,200
SONG: Smoke On The Water

786
00:52:14,200 --> 00:52:16,560
CHEERING AND CLAPPING

787
00:53:01,160 --> 00:53:05,160
# We all came out to Montreux

788
00:53:05,160 --> 00:53:08,560
# On the Lake Geneva shoreline

789
00:53:09,920 --> 00:53:12,960
# To make records with a mobile

790
00:53:15,040 --> 00:53:18,400
# We didn't have much time

791
00:53:18,400 --> 00:53:21,640
# Frank Zappa and the Mothers

792
00:53:21,640 --> 00:53:25,120
# Were at the best place around

793
00:53:26,440 --> 00:53:29,400
# But some stupid with a flare gun

794
00:53:30,480 --> 00:53:33,080
# Burned the place to the ground

795
00:53:34,880 --> 00:53:40,960
# Smoke on the water, fire in the sky

796
00:53:43,200 --> 00:53:46,640
# Smoke on the water

797
00:53:47,960 --> 00:53:49,920
# Burn

798
00:53:49,920 --> 00:53:51,960
# Burning down

799
00:53:53,520 --> 00:53:56,400
# Ah!

800
00:53:56,400 --> 00:53:57,640
# Yeah!

801
00:53:58,640 --> 00:54:01,000
# We're burning down

802
00:54:01,000 --> 00:54:02,920
# Oh, let me hear ya

803
00:54:58,360 --> 00:55:02,640
# We ended up at the Grand Hotel

804
00:55:02,640 --> 00:55:05,640
# It was empty, cold and bare

805
00:55:05,640 --> 00:55:10,960
# But with the Rolling truck Stones thing just outside

806
00:55:10,960 --> 00:55:14,080
# Making our music there

807
00:55:14,080 --> 00:55:18,600
# With a few red lights and a few old beds

808
00:55:18,600 --> 00:55:21,040
# We make a place to sweat

809
00:55:22,760 --> 00:55:26,280
# No matter what we get out of this

810
00:55:26,280 --> 00:55:31,040
# I know, I know we'll never forget

811
00:55:31,040 --> 00:55:36,600
# Smoke on the water, fire in the sky

812
00:55:38,880 --> 00:55:42,160
# Smoke on the water

813
00:55:45,520 --> 00:55:47,080
# Burning down

814
00:55:56,920 --> 00:55:59,040
# Hey, yeah!

815
00:56:01,240 --> 00:56:03,760
# And the fire was burning... #

816
00:56:06,480 --> 00:56:10,000
Here's a funny thing - this is an odd thing,

817
00:56:10,000 --> 00:56:13,840
but I've noticed that when any guitar player

818
00:56:13,840 --> 00:56:18,360
goes to redo a track from Machine Head,

819
00:56:18,360 --> 00:56:20,440
they overdo it.

820
00:56:20,440 --> 00:56:22,000
And it's not because they're making

821
00:56:22,000 --> 00:56:23,480
a mistake or anything like that.

822
00:56:23,480 --> 00:56:24,960
It's really because the music

823
00:56:24,960 --> 00:56:26,040
is so powerful,

824
00:56:26,040 --> 00:56:28,360
the memory of the music is so powerful,

825
00:56:28,360 --> 00:56:30,480
that you just think you have to turn it up louder,

826
00:56:30,480 --> 00:56:32,640
have more distortion or more power

827
00:56:32,640 --> 00:56:36,680
and we're often shocked when we go back to the original recordings

828
00:56:36,680 --> 00:56:39,200
and we say, "Wow - this is actually quite delicate."

829
00:56:40,640 --> 00:56:43,560
# Yeah...!

830
00:56:43,560 --> 00:56:46,400
# It's tumbling, tumbling down

831
00:56:46,400 --> 00:56:47,440
# Baby... #

832
00:56:48,840 --> 00:56:52,680
Being a drummer, Ian Paice, he was my hero, my idol.

833
00:56:52,680 --> 00:56:55,600
He was one of my first real influences

834
00:56:55,600 --> 00:56:59,720
and I listened to that record over and over.

835
00:56:59,720 --> 00:57:02,280
I always thought Made In Japan was interesting

836
00:57:02,280 --> 00:57:04,320
because it showed Deep Purple jamming

837
00:57:04,320 --> 00:57:07,520
and changing the songs, changing up some of the arrangements,

838
00:57:07,520 --> 00:57:10,080
and captured them on stage where a lot of people feel

839
00:57:10,080 --> 00:57:13,000
they were absolutely lethal, they did their best work

840
00:57:13,000 --> 00:57:18,000
and it was just one of those ultimate live albums of the time.

841
00:57:18,000 --> 00:57:20,000
These guys were just in a different league -

842
00:57:20,000 --> 00:57:22,200
Deep Purple were better than everybody else.

843
00:57:58,400 --> 00:58:01,320
APPLAUSE

844
00:58:05,000 --> 00:58:07,560
Hey! Thank you.

845
00:58:07,560 --> 00:58:11,000
Thank you all. Thank you. Thank all very much.

846
00:58:11,000 --> 00:58:12,640
God bless you, you've been fantastic.

847
00:58:12,640 --> 00:58:15,040
Thank you for coming and we'll see you around sometime.

848
00:58:15,040 --> 00:58:17,720
Thank you. Thank you all for that.

849
00:58:17,720 --> 00:58:19,200
Hey!

850
00:58:22,440 --> 00:58:25,240
MC SPEAKS IN JAPANESE

851
00:58:42,000 --> 00:58:43,040
..Deep Purple!

852
00:58:50,120 --> 00:58:53,400
Wahey! Down with the monitors, eh?

853
00:58:53,400 --> 00:58:55,480
Down with the monitors, mate. Yeah.