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░ ██ ██ Artist: Deep Purple ██ ██
▓ █░░ ■█ Album: Infinite █■ ░░█
■ █▓▀ █ Year: 2017 █ ▀▓█ ░
█ ▓ Rel. Date: 2017-06-13 ▓ █
▒ ▒ Genre: Hard Rock ▒ ▒
█▄ ░ Label: Ear Music ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
░ █▓ Type: Special Edition ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▓ █ █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ "The album is a dying art form," says Roger █
█ Glover. "They don't make money, and they're a █
█ waste of time and effort." █
█ If you're wondering why Deep Purple recorded █
█ InFinite, their 20th album, it seems that it could █
█ have been very different. "Someone in the band █
█ suggested we should just put out single songs," █
█ says Glover. "Release something every one or two █
█ months, and just keep touring. And while this █
█ might make financial sense, it didn't make any █
█ emotional sense to me. It might be old fashioned, █
█ but I don't care: we're an album band, and I'm █
█ proud of that." █
█ He should be. Glover sees InFinite as a state of █
█ the union address, and it's clear the █
█ scriptwriters have been working overtime. From █
█ furious opener Time For Bedlam ù which, sonically █
█ speaking, is as good an impersonation of a band in █
█ their early 20s as any released by a group whose █
█ youngest member is 62 ù to the hilarious Ian █
█ Gillan monologue that closes On Top Of The World, █
█ to the final romp through The Doors' classic █
█ Roadhouse Blues, it might just be the most █
█ authentic-sounding Purple album since Perfect █
█ Strangers back in 1984. █
█ "If an album's not going to achieve anything █
█ chart-wise, it still doesn't matter," says Glover. █
█ "Because we had a great time. I couldn't wait to █
█ do it again." █
█ Below, Roger talks about each of the album's 10 █
█ tracks. InFinite is on sale now. █
█ █
█ Time For Bedlam █
█ At the end of a jam that sounds promising, I'll █
█ ask if anyone in the band has a working title for █
█ the song. Time For Bedlam was one of mine ù it's a █
█ fun play on words ù and occasionally a working █
█ title will present itself as a proper title. It █
█ was even considered as an album title at one █
█ point, but we were talked out of it. █
█ When we write the songs, we steep ourselves in the █
█ atmosphere of the song and try and figure out what █
█ it's about. And this one sounded vicious. █
█ Especially the keyboard solo. It was bedlam. █
█ █
█ Hip Boots █
█ I don't know how true it is, but years and years █
█ ago I heard that the origin of the word 'hip' █
█ comes from a southern American phrase that says, █
█ "you can bury me up to my knees in shit, but I've █
█ got my hip boots on." And I've had this in the █
█ back of my brain for 20 years. It's a song about █
█ freedom, and about being above it all. █
█ I like that fact that it goes into 3/4 time. To █
█ me, that's a real kicker. █
█ █
█ All I Got Is You █
█ It comes from a phrase Ian Paice uses. You'll be █
█ telling him something, and he'll be looking at you █
█ with a blank look on his face, and finally he'll █
█ say, "Look at it this way. You've got me: all I've █
█ got is you!" Ian's sense of humour is based on █
█ insults. █
█ There's no forethought about where an album might █
█ be going, but we knew we didn't want to write love █
█ songs. We didn't want to write about fast cars and █
█ girls. We should write lyrics for our age. We were █
█ looking for stories, and for words we could get █
█ our teeth into. And this is a funny song about a █
█ relationship gone bad. █
█ █
█ One Night In Vegas █
█ This has a really cool groove, going down that █
█ Freddie King 16s feel, which we love. It's one of █
█ my favourite tracks. █
█ Don Airey told me this story about a band who █
█ played Las Vegas, and the bass player went out and █
█ got really drunk. He woke up the next morning with █
█ a hangover, unable to remember anything, with a █
█ girl he didn't know lying next to him. He asked █
█ who she was, and she said, "I'm your wife!" And █
█ they're still together after 30 years! █
█ █
█ Get Me Outta Here █
█ I was sitting at home in my studio messing around █
█ with Pro Tools, and took four bars of Paicey's █
█ intro to Bodyline [from 2013's Now What?!] and █
█ slowed it right down. It became almost a reggae █
█ tempo, and it sounded great. The drums get █
█ thicker, but Ian's swing feel still comes through. █
█ I just loved it, so I wrote a riff over it, and it █
█ just resonated with me. The song just flowed. █
█ Maybe I was thinking about The Animals We Gotta █
█ Get Out Of This Place, maybe I was thinking about █
█ the state of the world we're in. You just want to █
█ run away from it. █
█ █
█ The Surprising █
█ Steve started played this pretty chord sequence, █
█ and it sounded great. We all joined in a we jammed █
█ around it. I gave it the working title of "The █
█ Surprising Mr Morse" because it was a surprising █
█ thing he played. █
█ They're Ian Gillan's words, and I suppose it's █
█ about temptation, but they're ambiguous, and I █
█ like ambiguous words. People can read want they █
█ want into it. People will anyway, even when you █
█ spell it out. Smoke On The Water is completely █
█ literal, and yet a DJ once asked me if we really █
█ set fire to an island. You can't stop people █
█ putting their own meaning to a lyric. █
█ █
█ JohnnyÆs Band █
█ Johnny's Band was almost a pop song. Steve came up █
█ with the idea, and not all the band liked it at █
█ first: Ian Paice thought it was a bit flippant, █
█ but Ian Gillan loved it, and eventually we decided █
█ to do it. We knew what the meter of the song was █
█ going to be, and realised it needed something █
█ really strong over the chorus to make it work. █
█ I was thinking about VH1's Behind The Music, and █
█ that every band's story is the same. They start █
█ with nothing, then they get some success, then █
█ they get huge success, then drink and drugs and █
█ women destroy them, then they end up suing each █
█ other, then 20 years later they get back together █
█ again because they realise it was the best time █
█ they ever had. Johnny's Band is the story of every █
█ band. It's a universal story. But it's not about █
█ Purple! There's a reference to Louie Louie in the █
█ guitar solo that places it firmly in the 60s. █
█ █
█ On Top Of The World █
█ It's based on one of Gillan's true stories, and it █
█ happened to him a long time ago, I think in Kuala █
█ Lumpar. He had one of those nights, and ended up █
█ on top of a building where all the hookers and █
█ street dancers lived. He was telling us this █
█ story, and Bob [producer Bob Ezrin] wanted to fit █
█ the story into the backing track, but it's too █
█ long, and by the end of the afternoon they'd █
█ agreed that it wasn't working. █
█ I had an idea, and condensed the story into a █
█ shorter form, but it was still too long for a █
█ song. We were just on the point of abandoning it, █
█ and I thought, "why don't we just do something at █
█ the end?" And that's how it came about. █
█ █
█ Birds Of Prey █
█ We stated working on a riff I had in the rehearsal █
█ room, and after a brief arrangement we did a first █
█ take, and I still love that take. We just had so █
█ much fun with it because it was so hard and heavy. █
█ On the recorded version the ending goes around two █
█ or three times, but on the jam we had it goes on █
█ 10 or 12 times. We just couldn't stop playing it. █
█ Steve and Don swap solos, and there's a lovely █
█ sense of freedom about it. █
█ People say that they want peace, but it occurred █
█ to me that we'll never have peace. The world has █
█ never had peace, and it never will, because the █
█ natural state of human beings is conflict. It's █
█ wishful thinking: we're always going to be at odds █
█ with something, and I wanted to say something █
█ about that. My first image was 9/11 ù hence Birds █
█ Of Prey ù but it goes way beyond that. █
█ One of the things I really like about the song is █
█ that it doesn't repeat itself. It's not █
█ verse-chorus-verse-chorus-solo. It takes you on a █
█ journey. █
█ █
█ Roadhouse Blues █
█ This was Paicey's idea. On Now What?! we didn't █
█ Jerry Lee Lewis's It'll Be Me [it featured on the █
█ Deluxe Editions] purely for fun, and Bob suggested █
█ we pick another old track. We spent about a minute █
█ thinking: Bo Diddley? Bob Dylan? █
█ Then Paicey related this story about working with █
█ tribute bands when he's off the road, to keep his █
█ hand in and to keep fit. They were doing Black █
█ Night, and at the end the singer went into █
█ Roadhouse Blues. So he suggested it, and Bob said, █
█ "that's it! Let's do it!" It took less than half █
█ an hour, and it's all live: vocals, harmonica, the █
█ lot. █
▓ ▓
▒ ▒
░ 1. Time for Bedlam 4:35 ░
░ 2. Hip Boots 3:23 ░
░ 3. All I Got is You 4:42 ░
░ 4. One Night in Vegas 3:23 ░
░ 5. Get Me Outta Here 3:58 ░
░ 6. The Surprising 5:57 ░
░ 7. Johnny's Band 3:51 ░
░ 8. On Top of the World 4:01 ░
░ 9. Birds of Prey 5:47 ░
░ 10. Roadhouse Blues 6:01 ░
░ 11. Paradise Bar (Bonus track) 4:10 ░
░ 12. All the Time in the World (Bonus track) 3:49 ░
░ 13. First Sign of Madness (Bonus track) 4:27 ░
░ 14. Simple Folk (Bonus track) 1:15 ░
░ 15. Above and Beyond (Bonus track) 5:29 ░
░ 16. Uncommon Man (Bonus track) 6:58 ░
░ 71:46 ░
░ ▒ ▒
▓ █ ░ ▓ ░
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