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Entrevista: Queremos despertar a America, DP todavia existimos !!!
Es lo que comenta Roger Glover en una entrevista realizada en pasados dias al peridico Boston Herald de Boston, MA en USA con motivo de la reciente gira con orquesta que Deep Purple (Actual) hace por aquellas tierras. La entrevista esta en ingles pero facil de seguir.
“We want to wake up people in America to the fact that we still exist,” said Deep Purple bassist Roger Glover. “A lot of people you talk to say, ‘Oh, Deep Purple. Are they still together? Didn’t one of them die recently? Are they still with Ritchie Blackmore?’ ”
Answers:
• It wasn’t a member of Deep Purple who died, but Ronnie James Dio, who once sang with guitarist Blackmore’s band Rainbow.
• The temperamental Blackmore — who came and went several times from 1969 to 1993 — is gone and now leads Blackmore’s Night. Ex-Dregs guitarist Steve Morse replaced him in 1994.
• Deep Purple, the classic English hard rock band (their career-defining song is “Smoke on the Water”), lives. The quintet performs with a 35-piece orchestra at the Citi Wang Theatre Tuesday with what people consider the band’s classic lineup: Glover, singer Ian Gillan and drummer Ian Paice.
The Herald spoke with Glover, 65, from his Switzerland home last week.
Herald: Deep Purple has done concerts with orchestras several times. What’s this one about?
Glover: Yes, we’ve dabbled with orchestras before, and we were one of the first bands to do it. It was actually something Jon wrote, (“Concerto for Group and Orchestra” in 1969) and nothing to do with rock music. It was really a symphonic piece. We’ve also done our music with a bit of backing, which is a cruel way of saying what we’re going to do this tour. But it’s a bit more than that.
Is it at all like Metallica’s “Symphony & Metallica” live CD?
Every time you mention rock bands and orchestras everyone says, “Oh, like Metallica,” which sticks in my throat a little bit. Nothing against Metallica, but bands have been doing it way before Metallica.
How do you explain it then?
It’s a Deep Purple gig. There’s no concession to the fact there’s an orchestra there, and it’s not really even an orchestra. It’s some strings, some horns and it’s as much jazz as it is orchestral-classical stuff. It’s a rock concert with added heft. We don’t quite know how it’s going to sound.
What motivates you to do what you do at this point?
What else to do? I suppose many bands form and, even if they get successful, they’re successful for a year or two, then you have to deal with the rest of your life. Fortunately, we’ve not been in that position. What happened to us, we carried on, so it’d be kind of foolish to leave it behind.
But at times you did leave it behind.
Not always out of choice.
Were you brought into the band in 1969 by Ritchie and later sacked by him?
I was brought in not by Ritchie, but the whole band. When I was forced out or edged out or whatever the polite way of saying fired is, in 1973, yeah, that was pretty tough. I didn’t realize why. I understood why in the end because Ritchie wanted new blood, he wanted to play with different players and he’s always been like this.
Then, you came back in through Ritchie. And he exited later.
That first reunion album, “Perfect Strangers,” was a glorious time for all of us, a healing of all the wounds, but it didn’t take long before things started getting tense. Ritchie’s got his own road he’s going down and if you happen to be with him on part of that road, you consider yourself lucky.
Let’s cut to Steve Morse. What did you tell him when you asked him to join?
I said, “As far as I’m concerned, and I think I speak for the rest of the band, we want you to be you, not a cardboard cutout of Ritchie in any way, shape, or form. Or in writing, looks, sound and behavior.” You can’t be in a band and not be 100 percent yourself. That to me is imperative. He said, “So, I can come with any idea I can think of?” and I said, “Sure.” He’s a man of a million ideas. It’s hard to stop him.
“Made in Japan” was your breakthrough live album back in 1973. Are songs from that still a key part of the set?
Yes, it’s pretty hard to do a gig without playing at least some of those songs.
So, to pick one, is playing “Smoke on the Water,” an obligatory albatross or is it fun to still play?
Oh, it’s fantastic to play, just from the audience reaction alone. Young people are probably hearing it live for the first time and in a way it becomes a new experience for us. We’re not a band that plays the same thing every night. Every musician in the band is capable of letting it fly at any time. You have to keep the song intact, but there’s always the possibility of different solos. It’s when you’re having fun that you’re playing your best.
What does being called a classic rock band mean?
We’re stuck in the States with that classic rock tag, so it’s very difficult to get an audience of younger than about 40. It’s a label. I think it hurts us, because we’re not getting through to the younger audiences we get through to in the rest of the world. We’ve been big in France the last seven years and play big venues, which are always packed with teenagers and they have a ball. You go to America and play a shed somewhere and people are sitting down eating their popcorn, don’t want to get up and barely want to clap.
Do you have new material in the works?
We do actually. We had a writing session in March. We did manage to get together and agree to do an album. People were saying the business has changed, people don’t buy albums anymore. I’m not of that belief. We’re an album band. We were born and should die that way. An album is almost like a school report of a particular era, a great tradition.
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"In my dark and whispering room
Memories still bring me a numbness to my feelings..."
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22/6/2011, 17:01
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