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Thursday, October 13, 2011
Roger Glover: New In Depth Interview Available
recently caught up withDeep Purple bassist Roger Glover. An excerpt
from the interview is available below:
Do you have any sense of what made Deep Purple’s songs so
Glover: "I think any song that’s
without artifice is gonna stand the test of time because it’s
honest. It’s honest playing; it’s people playing instruments.
There’s no extra effects; there’s no big shows, fireworks or
dancing girls—it’s just musicians playing music. And I think that
has an appeal especially after the last 20 years of drum machines and
computers and so on. Not that there’s anything wrong with that—it
depends how you use them. I think there is a backlash especially
since CD sales have slumped beyond recognition and live is really the
key. If you can play live then you’ve got a career. A lot of bands
come out and they have a couple of hits but they can’t back it up
UG: By the time you recorded Fireball, you
and drummer Ian Paice have created this very unique kind of rhythm
section. Where did that come from?
Paicey swings; he’s a Big Band drummer at heart. So playing hard
rock, he can’t help but swing somehow. I remember listening to
Machine Head when I did the remixes [Glover remixed the album for a
special 2-CD 25th Anniversary edition] and 'Highway Star', it was the
first time I listened to the drums on their own since that time and
it amazed me. Because you get so used to the finished mix that it
sounds like gnn gnn gnn gnn [sings very straight robotic type of
rhythm]. It sounds like a machine gun in the beginning but when you
take the drums on their own, they’re not straight, they’re swung;
there’s a little kick to them somehow. And it’s that
juxtaposition of dotted notes and straight notes that is the essence
of rock and roll to me. That’s what Little Richard’s all about;
that’s what New Orleans is, to me the birthplace of rock. There’s
several birthplaces but that’s one of the main ones. That tension
between jazz and straight if you like."
Blackmore was a strange guitar player in that he didn’t approach
rhythm like a typical guitarist. Many times Blackmore would sort of
double a bass part by pumping on his low strings. What was it like
playing bass around his guitar parts?
was a learning process; I’ve no idea what my thought processes were
like but instinctively you either tuck in with him or you play
something that is complementary to it. And as you say, Ritchie didn’t
play rhythm guitar very often and that’s really what formed Jon’s
sound—Jon started playing rhythm organ. To that end, he wanted to
match Ritchie’s sound so he ditched the Leslies and went through a
Marshall cab and that’s what gives it that really harsh, edgy
sound. It wasn’t thought out—it was a natural progression, I
guess. You can’t think ahead; you can’t think of what music’s
gonna be. It’s not as if we sat around and said, 'Right, let’s
write some iconic music here [laughs].' You don’t plan it that way;
it’s just whatever happens, happens and fortunately we were at the
right place, right time, right image, right whatever. It’s just one
of those things that clicked."