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

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    Создавать темы 15-Сен-2014 16:14

           

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    Deep Purple Made in Japan
    Жанр: Music Documentary [ENG]
    Продолжительность: 00:59:07
    Год выпуска: 2014
    Описание: Deep Purple: Made in Japan
    Deep Purple is one of the most influential and important guitar bands in history, one of the godfathers of the heavy metal genre, with over 100 million album sales worldwide to their name. To celebrate the 40th anniversary of Deep Purple's groundbreaking double live album Made in Japan, this documentary explores these recordings and Deep Purple mark 2, the line-up between 1969 and 1973.
    The film highlights the mark 2 period of this classic British rock band featuring the classic line-up of Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover and Ian Paice with a focus on the recording of the album Machine Head in Montreux, Switzerland in late 1971; the friction that developed within the band as a result of this recording and their incessant touring of the world in general and North America in particular; and the live recordings of the band's first Japanese tour in August 1972, released that December in the UK as Made in Japan, a Number 1 UK album. Lars Ulrich of Metallica has cited Made in Japan as his favourite album of all time.
    Featuring previously unseen exclusive footage, this film promises to uncover the meaning behind the song Smoke on the Water, known for one of the most iconic riffs in rock history, and to reveal the background to the mystery that lies behind the three nights in Osaka and Tokyo during the recording of the live Made in Japan album from 1972.
    This line-up of Deep Purple then split in 1973, with Gillan and then Glover quitting the band to be replaced. The classic mark 2 line-up would go on to reform twice more in the late 80s and early 90s and although Ritchie Blackmore left the band for the last time in 1993 and despite the death of organist Jon Lord in 2012, Deep Purple are very much active. Made in Japan has been ranked as the sixth best live album of all time, and this film goes under the covers to tell us why.
    GOOGLE >>>> Deep Purple : Сделано в Японии
    Deep Purple является одной из самых влиятельных и важных гитарных групп в истории , один из крестных отцов хэви-метал жанра , с более чем 100 миллионов проданных альбомов по всему миру с их именем . Чтобы отпраздновать 40-ую годовщину новаторской двойного концертного альбома группы Deep Purple Сделано в Японии , этот документальный фильм исследует эти записи и Deep Purple отметку в 2 , в линейку между 1969 и 1973 .
    Фильм подчеркивает знак 2 период этой классической британской рок-группы с участием классическую линейку Иэн Гиллан , Ричи Блэкмор , Джон Лорд , Роджер Гловер и Ян Пейс с акцентом на записи альбома Machine Head в Монтре, Швейцария в поздно 1971 ; трение , что разработаны в рамках группы, так как в результате этой записи и их непрекращающейся гастролей в мире в целом и Северной Америке , в частности ; и живые записи из первого японского тура группы в августе 1972 года, освобожден , что в декабре в Великобритании в качестве Сделано в Японии , ряд 1 Великобритании альбома . Ларс Ульрих из Metallica привел Сделано в Японии , как и его любимый альбом всех времен .
    Благодаря ранее не эксклюзивные кадры , этот фильм обещает раскрыть смысл за дымом песни на Воде , известный одной из самых знаковых риффов в истории рока , и выявить предпосылки к разгадке тайны , которая лежит в трех ночей в Осаке и Токио во время записи живого Сделано в Японии альбома с 1972 .
    Этот состав из Deep Purple затем разделить в 1973 году , с Гиллана , а затем Гловер бросить группу, чтобы заменить . Классический метка 2 состав пойдет на реформу в два раза больше в конце 80-х и начале 90-х годов , и, хотя Ричи Блэкмор покинул группу в последний раз в 1993 году и , несмотря на смерть органист Джон Лорд в 2012 году, Deep Purple очень много активны . Сделано в Японии был оценен как шестой лучший концертный альбом всех времен , и этот фильм идет под одеялом , чтобы сказать нам, почему .
    Доп. информация: Пожалуйста, перевести по-русский, если вы знаете оба языка очень хорошо
    и добавить перевод здесь ...
    субтитры на английском языке в файле MKV, но могут быть скрыты

    ENG srt

    1
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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
    4
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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.
    9
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    Thanks a lot.
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    CHEERS AND APPLAUSE
    11
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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.
    13
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    We did the same songs on stage
    14
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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.
    19
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    '72, I think we made two albums, six US tours.
    20
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    Something happened. Ritchie and Ian Gillan agreed to disagree.
    21
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    I wrote a letter saying I was going to leave.
    22
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    No-one said anything, so I assumed they wanted me to leave.
    23
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    It was just pressure, pressure, pressure,
    24
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    and that's exactly why that split happened.
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    # My woman from Tokyo
    26
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    # She makes me see
    27
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    # My woman from Tokyo
    28
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    # She's so good to me. #
    29
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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
    31
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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.
    34
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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.
    36
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    # Help me get my feet back on the ground... #
    37
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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?
    53
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    # Good golly, said little Miss Molly
    54
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    # When she was rockin' in the house of blue light
    55
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    # Tutti frutti was oh so rooty... #
    56
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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.
    58
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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... #
    68
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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?
    72
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    # I don't care
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    # What you think
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    # I never heard you
    75
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    # I never heard you anyway... #
    76
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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...
    82
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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
    89
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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?
    91
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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.
    94
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    # Oh, yeah...
    95
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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
    99
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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.
    101
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    # Really hate the running
    102
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    # Really hate the game
    103
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    # Looking at them all, I want to be unborn again... #
    104
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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.
    108
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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... #
    144
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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.
    179
    00:13:52,920 --> 00:13:58,480
    And literally within five minutes or so, the place was an inferno.
    180
    00:13:59,920 --> 00:14:04,040
    GUITAR FEEDBACK
    181
    00:14:04,040 --> 00:14:07,160
    Fire!
    182
    00:14:07,160 --> 00:14:10,800
    Probably go towards the exit, ladies and gentlemen.
    183
    00:14:41,200 --> 00:14:43,320
    The fire had started in the ceiling
    184
    00:14:43,320 --> 00:14:46,440
    and it spread without anyone seeing it and it was a huge building,
    185
    00:14:46,440 --> 00:14:48,840
    it wasn't just a casino, it was a venue,
    186
    00:14:48,840 --> 00:14:52,280
    that's where we were watching Zappa, there was a disco there,
    187
    00:14:52,280 --> 00:14:56,200
    bars, restaurants, a big casino, big convention facilities, so it was a
    188
    00:14:56,200 --> 00:15:00,040
    massive building and it was a wooden building and, bang, it just went up.
    189
    00:15:15,520 --> 00:15:18,280
    And the next morning, we went there and it was still smouldering.
    190
    00:15:18,280 --> 00:15:20,720
    It's amazing that no-one got hurt.
    191
    00:15:29,680 --> 00:15:32,120
    - FRANK ZAPPA:
    - We'd just started playing King Kong
    192
    00:15:32,120 --> 00:15:36,920
    but we were playing and in that part of King Kong, I stop the band
    193
    00:15:36,920 --> 00:15:41,280
    and so, obviously, there was a fire and a window in the back,
    194
    00:15:41,280 --> 00:15:44,920
    a big window with maybe a 10 or 15-feet drop down.
    195
    00:15:44,920 --> 00:15:49,600
    They broke that and people were jumping out and...
    196
    00:15:49,600 --> 00:15:51,320
    So, everybody got out.
    197
    00:15:51,320 --> 00:15:53,640
    And Claude, bless him, Claude was wonderful.
    198
    00:15:53,640 --> 00:15:57,520
    There's a photograph of Claude in Machine Head taken as the fire
    199
    00:15:57,520 --> 00:16:01,880
    was raging and he came by the hotel to see us and the look
    200
    00:16:01,880 --> 00:16:04,920
    on his face is evident in that picture, it's a wonderful picture.
    201
    00:16:04,920 --> 00:16:08,040
    I mean his future, his life was going up in flames and, bless him,
    202
    00:16:08,040 --> 00:16:09,600
    he didn't think about that, he said,
    203
    00:16:09,600 --> 00:16:12,000
    "I'm really worried about you, what are you going to do?"
    204
    00:16:12,000 --> 00:16:13,640
    "We've got to find somewhere else."
    205
    00:16:13,640 --> 00:16:18,600
    Montreux, then, it was a very small, sleepy town, very upper class.
    206
    00:16:18,600 --> 00:16:21,840
    It was very quiet. I think there was one club, a couple of restaurants.
    207
    00:16:21,840 --> 00:16:23,000
    It had a lot of tea shops,
    208
    00:16:23,000 --> 00:16:25,560
    lots of little old ladies going out in the afternoon for tea
    209
    00:16:25,560 --> 00:16:27,680
    and we're looking for somewhere where we can make
    210
    00:16:27,680 --> 00:16:29,560
    a lot of noise in the middle of the night.
    211
    00:16:29,560 --> 00:16:30,960
    That's a pretty tall order.
    212
    00:16:30,960 --> 00:16:35,760
    Now, we only had a certain amount of time with the Stones' mobile.
    213
    00:16:35,760 --> 00:16:38,960
    We started work in one place, which was a theatre in town.
    214
    00:16:38,960 --> 00:16:43,760
    We did one track there and the police were hammering on the door,
    215
    00:16:43,760 --> 00:16:47,720
    we actually did the track about one or two in the morning after
    216
    00:16:47,720 --> 00:16:51,400
    spending all evening rehearsing and getting sounds and stuff so
    217
    00:16:51,400 --> 00:16:57,240
    we obviously couldn't use that place and we got a little bit desperate.
    218
    00:16:57,240 --> 00:16:58,600
    Well, it was chaos.
    219
    00:16:58,600 --> 00:17:03,760
    I mean, from being beautifully organised and arranged -
    220
    00:17:03,760 --> 00:17:07,160
    we would record here, the truck would be here, the hotel was there -
    221
    00:17:07,160 --> 00:17:11,040
    all of a sudden, you've got nowhere to record cos it's a bunch of ashes.
    222
    00:17:11,040 --> 00:17:13,840
    But you've still got the expense of the hotel, you've still got
    223
    00:17:13,840 --> 00:17:17,000
    the truck there that's got to be paid, everybody's over there.
    224
    00:17:17,000 --> 00:17:20,520
    What do you do? You find somewhere else to do it.
    225
    00:17:20,520 --> 00:17:24,560
    We looked at barns, farms, hotel basements.
    226
    00:17:25,680 --> 00:17:26,880
    Various places
    227
    00:17:26,880 --> 00:17:32,280
    and I think it took about five or six days before we found the Grand Hotel,
    228
    00:17:32,280 --> 00:17:36,040
    which was closed. It was winter, it was November.
    229
    00:17:36,040 --> 00:17:38,200
    Machine Head to me was...
    230
    00:17:38,200 --> 00:17:43,480
    I had realised how simple and easy it was to make a good record,
    231
    00:17:43,480 --> 00:17:50,040
    um, without all the trappings, without the headaches.
    232
    00:17:50,040 --> 00:17:55,400
    We made that record in three weeks and three days
    233
    00:17:55,400 --> 00:18:00,000
    and it was great substance, great record and it was done, out.
    234
    00:18:00,000 --> 00:18:03,920
    And, to me, that represented how a record should be made.
    235
    00:18:03,920 --> 00:18:05,760
    Quick and to the point.
    236
    00:18:05,760 --> 00:18:07,240
    SONG: Smoke On The Water
    237
    00:18:07,240 --> 00:18:09,800
    # We all came out to Montreux
    238
    00:18:09,800 --> 00:18:13,320
    # On the Lake Geneva shoreline
    239
    00:18:14,480 --> 00:18:17,800
    # To make records with a mobile
    240
    00:18:19,720 --> 00:18:23,040
    # We didn't have much time
    241
    00:18:23,040 --> 00:18:26,640
    # Frank Zappa and the Mothers
    242
    00:18:26,640 --> 00:18:30,000
    # Were at the best place around
    243
    00:18:31,320 --> 00:18:35,200
    # 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, "[РЕДИСКА] 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.
    Качество: HDTV 720p
    Контейнер: MKV
    Видео кодек: H.264
    Аудио кодек: AAC
    Видео: MKV MPEG4/ISO/AVC; 1280x720; 2398 kbps; 25.000 fps
    Аудио: AAC; 48.0 KHz; ch 2; 96k

    Отчёт MediaInfo / BDInfo

    GeneralUnique ID : 275172037732133738357084237766003486717 (0xCF0434EC6E1B3ADFC09B9420C4036FFD)Complete name : Deep Purple Made in Japan [Documentary][2014].mkvFormat : MatroskaFormat version : Version 4 / Version 2File size : 1 014 MiBDuration : 59mn 7sOverall bit rate mode : VariableOverall bit rate : 2 398 KbpsEncoded date : UTC 2014-09-13 19:42:23Writing application : mkvmerge v6.7.0 ('Back to the Ground') 64bit built on Jan 9 2014 18:03:17Writing library : Lavf54.20.4MOOVPOSITION : 36AVCPROFILE : 100AVCLEVEL : 41AACAOT : 2VIDEOFRAMERATE : 25AUDIOCHANNELS : 2
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    TextID : 1Format : UTF-8Codec ID : S_TEXT/UTF8Codec ID/Info : UTF-8 Plain TextLanguage : EnglishDefault : YesForced : No

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