Original subtitles

This programme contains some strong language

CHEERS AND APPLAUSE

All I want to say to all of you is thank you very much, you've

been great. Thank you for everything you've given us in Japan.

And thank you, really, you're the representatives of the whole

world, as far as we're concerned.

Thank you and God bless you for everything you've ever given us.

And this is the last night. The end.

Thanks a lot.

CHEERS AND APPLAUSE

I didn't think Machine Head, at the time, was anything special.

It was Made In Japan that threw it into the stratosphere.

We did the same songs on stage

and it seemed to take off that much bigger than Machine Head.

It's a beautiful snapshot of the band in all its glory.

Firing off each other, working it out, live on stage.

On the night.

And then people started to break down.

'72, I think we made two albums, six US tours.

Something happened. Ritchie and Ian Gillan agreed to disagree.

I wrote a letter saying I was going to leave.

No-one said anything, so I assumed they wanted me to leave.

It was just pressure, pressure, pressure,

and that's exactly why that split happened.

# My woman from Tokyo

# She makes me see

# My woman from Tokyo

# She's so good to me. #

# When I was younger, so much younger than today... #

We started in '68, Jon Lord and myself, and we put the band

together, and I don't think we quite knew what direction that we had.

We kind of...flim-flammed around in certain areas.

I think the first album was a recording of everything we'd learnt.

I don't think we had anything else. I think that was it.

A couple of original bits and pieces and then quite a lot of covers.

# Help me get my feet back on the ground... #

The highs were the interaction that Ritchie, Jon and I found,

musically

and personally.

We had a great time.

The lows were...learning very quickly that the...balance

of the band, personnel, couldn't go as far as it really needed to.

As we were staggering into 1969, Ritchie and I, particularly,

realised that the band was in danger of not being quite what we'd

seen it as in our minds.

It was going a little bit...pop.

There we are, like, really searching for an identity

and that search goes on pretty much through the first three albums.

A friend of mine had a singer in his band, it was Ian Gillan.

So we tried out Ian. He had the scream, he had the look,

and that's why in 1970 we were on our way.

Good morning. And how are you?

# Good golly, said little Miss Molly

# When she was rockin' in the house of blue light

# Tutti frutti was oh so rooty... #

Then, of course, In Rock came out and that became

a phenomenon in the British charts, in the top ten for over a year.

It hit a chord with the British youth and Europe.

# I'm a speed king

# You go to hear me sing... #

When we saw what In Rock had done, it was a calling card.

It said - this is Deep Purple.

Everybody in the band was absolutely behind it

and that lasted pretty much into the Machine Head era.

# Saturday night and I just got paid

# Gonna fool about, ain't gonna save

# Some people gonna rock, some people gonna roll... #

Deep Purple In Rock stayed in the charts for over a year.

Big success to follow.

I think there was a feeling of - what do we do next?

How do we top that?

# I don't care

# What you think

# I never heard you

# I never heard you anyway... #

Fireball, there was a kind of certain intimidation going on

and by the time it was finished, I think we were a little tired.

Fireball was lots of fun, but it was a little more introvert.

And there's still some great tracks on it, but it didn't fire up

the imagination of the public the way that In Rock did.

# Oh...

# Like a demon's eye. #

Fireball, it's a troublesome...album because, to me,

you couldn't have had Fireball without In Rock.

But you couldn't have Machine Head without Fireball, so it sits

very nicely as part of those three really...good rock albums.

The success that In Rock and, not quite so much Fireball,

gave us allowed us to say, "OK, the next time round, we're

"going to get a situation where once we've got the sound, three weeks,

"we've got the songs together, we just record them," you know?

And that's what we did with Machine Head.

Ha-ha.

Yeah, let's go.

# Oh, yeah...

# Uh-uh... #

Although we were wildly successful, Deep Purple In Rock

and Fireball, we actually hadn't made much money

because we were paying back the management for having funded

the band for so many years.

So despite all that success, you know, we needed to make some money.

# Really hate the running

# Really hate the game

# Looking at them all, I want to be unborn again... #

In 1971, the law changed.

If a recording is done overseas, so long as the overseas derived

income wasn't remitted into the UK, it wasn't taxed in the UK.

What happened was that the boys had to become tax exiles.

That is a process which saved a huge amount of money.

We had an accountant at the time called Bill Reid,

a brilliant guy, and he cooked up this scheme.

He said, "Look, if you write songs and record them

"outside of the country, you won't be taxed English tax,

"you're only taxed on what you earn in England."

And we travelled the Continent, so it wasn't a big problem for us

to do that.

We took specialist tax advice that in order for the boys to get

the benefit of whatever they might do in the future, they would

have to have an employment, as opposed to a partnership.

As it was considered that their next album, which they had yet to record,

or even write, was going to be the biggest that they would have had

yet because of the rising success in album sales, that we

would institute the employment regime by having a company

which was an English company,

but it employed the artists only for their overseas activities.

And the next album which they did, which was Machine Head,

made that a very wise decision.

So we thought we'd record an album under studio conditions,

but in a live venue.

Claude Nobs was the instigator of us going to Switzerland

and Claude said that he could set us up with something over there,

which was the Casino, to record at the Casino.

Under the new regime and under their employment contracts,

they had to record overseas. The question then would be, where to go.

And the band and Tony and Jon looked around and spoke to Claude Nobs,

who was a promoter on the Continent.

Claude Nobs, our friend from Montreux, he did the jazz festival.

He said, "We've got tonnes of space here.

You can do it, you can do it here.

We'll find a place in the Casino, which is closed for the winter.

Everyone knows the story.

A little rock 'n' roll that we call Speed King.

# Good golly, said little Miss Molly

# When she was rockin' the house of blue light... #

That was probably the best times of Purple back then

and when we arranged to go to Switzerland to do this album,

it was just a fantastic time, you know?

Unfortunately, the Casino burned down,

but out of that sprang the song, of course.

Without that, there would have been no Smoke On The Water.

Why did you go to Switzerland to record Machine Head?

Several reasons. One being it's a great place to be, Montreux.

We know a lot of people in Montreux. And it was a nice place to go.

The second, because we used The Rolling Stones' mobile unit and that

was in the South of France and it was easy to trundle it up to Switzerland.

Um... And thirdly, money reasons, tax reasons. It's... It's...

You can avoid paying some tax on your albums, on your royalties,

if you've made the album out of the country.

It's a very complicated deal, but it's not illegal.

Tax people know about it, but it's just if you want to take

advantage of it, you have to record outside the country.

And also, we did it in two weeks,

where normally we take three or four months over an album,

on and off, but we just had a concentrated two weeks playing.

We'd written all the songs and we just went in and recorded.

The Casino in Montreux, Switzerland,

if you were doing a tour of Europe, you'd play there.

And the guy who was organising it, Claude Nobs, said, "Don't put

"your gear in yet because there's one more show before you can do it.

"It's a matinee tomorrow afternoon, Frank Zappa

"And The Mothers. Three o'clock. Do you want to go?" "Sure."

'Ladies and gentlemen...'

And about an hour into the show,

someone fired a flare gun into the ceiling, which was made of...

It was like a false ceiling, bamboo.

And there wasn't much of a fire at first, but things came to

a halt and everyone was ordered to leave the building.

And there was a little bit of a panic, but not bad.

No-one was hurt, strangely enough.

And literally within five minutes or so, the place was an inferno.

GUITAR FEEDBACK

Fire!

Probably go towards the exit, ladies and gentlemen.

The fire had started in the ceiling

and it spread without anyone seeing it and it was a huge building,

it wasn't just a casino, it was a venue,

that's where we were watching Zappa, there was a disco there,

bars, restaurants, a big casino, big convention facilities, so it was a

massive building and it was a wooden building and, bang, it just went up.

And the next morning, we went there and it was still smouldering.

It's amazing that no-one got hurt.

FRANK ZAPPA: We'd just started playing King Kong

but we were playing and in that part of King Kong, I stop the band

and so, obviously, there was a fire and a window in the back,

a big window with maybe a 10 or 15-feet drop down.

They broke that and people were jumping out and...

So, everybody got out.

And Claude, bless him, Claude was wonderful.

There's a photograph of Claude in Machine Head taken as the fire

was raging and he came by the hotel to see us and the look

on his face is evident in that picture, it's a wonderful picture.

I mean his future, his life was going up in flames and, bless him,

he didn't think about that, he said,

"I'm really worried about you, what are you going to do?"

"We've got to find somewhere else."

Montreux, then, it was a very small, sleepy town, very upper class.

It was very quiet. I think there was one club, a couple of restaurants.

It had a lot of tea shops,

lots of little old ladies going out in the afternoon for tea

and we're looking for somewhere where we can make

a lot of noise in the middle of the night.

That's a pretty tall order.

Now, we only had a certain amount of time with the Stones' mobile.

We started work in one place, which was a theatre in town.

We did one track there and the police were hammering on the door,

we actually did the track about one or two in the morning after

spending all evening rehearsing and getting sounds and stuff so

we obviously couldn't use that place and we got a little bit desperate.

Well, it was chaos.

I mean, from being beautifully organised and arranged -

we would record here, the truck would be here, the hotel was there -

all of a sudden, you've got nowhere to record cos it's a bunch of ashes.

But you've still got the expense of the hotel, you've still got

the truck there that's got to be paid, everybody's over there.

What do you do? You find somewhere else to do it.

We looked at barns, farms, hotel basements.

Various places

and I think it took about five or six days before we found the Grand Hotel,

which was closed. It was winter, it was November.

Machine Head to me was...

I had realised how simple and easy it was to make a good record,

um, without all the trappings, without the headaches.

We made that record in three weeks and three days

and it was great substance, great record and it was done, out.

And, to me, that represented how a record should be made.

Quick and to the point.

SONG: Smoke On The Water

# We all came out to Montreux

# On the Lake Geneva shoreline

# To make records with a mobile

# We didn't have much time

# Frank Zappa and the Mothers

# Were at the best place around

# But some stupid with a flare gun

# Burned the place to the ground

# Smoke on the water... #

It's interesting the way a band looks at its material

when it comes to singles.

Because we weren't really...

It goes without saying, we weren't really a singles band,

it wasn't the kind of thing that we felt comfortable putting

the material into single form, it didn't come easy to us.

But we were writing well by that time and I honestly thought that

we'd written a great single in Never Before.

In fact, to the point that

when we sent it across to Warner Bros in the States...we sent it

with the indication that Never Before would be the single.

It came back with the comment,

"You must be joking. The hit is Smoke On The Water."

To which we said,

"You must be joking, the hit is Never Before."

We honestly didn't think that Smoke On The Water was hit material.

How wrong can you be?

SONG: Never Before

# Somebody

# Somebody

# Come to my side... #

Machine Head, Deep Purple's new album,

in your record shop now on Purple Records.

Where else?

Machine Head came out and it was a reasonable hit, people liked it.

But it wasn't till Made In Japan came out that people actually

absorbed it and registered that it was a good record.

CHEERING AND APPLAUSE

'We did the same songs on stage'

and it seemed to take off that much bigger than Machine Head.

It's nice to be here.

We've had a nice time over the last few days,

I hope you enjoy yourselves.

If we could have a little bit more atmosphere on the lights,

we'd appreciate it.

'I didn't think Machine Head,

'at the time, was anything more special than Fireball'

or In Rock.

And in fact, it wasn't really until we did Made In Japan,

the live album, that it really came to life.

Yeah, it was a big hit

but it was Made In Japan that threw it into the stratosphere.

SONG: Highway Star

All right.

This is a song called Highway Star, this one.

Made In Japan started as an idea from the Japanese record company.

They said, "We want a live album, Japan only."

We hated the thought of live albums, strangely,

for a band that was so good live.

We just thought, "Maybe not."

So, we said, "Only if it only ever comes out in Japan."

Thus the title.

# Nobody gonna take my car

# I'm gonna race it to the ground

# Nobody gonna beat my car

# It's gonna break the speed of sound

# Ooh, it's a killing machine

# It's got everything

# Like a driving power

# Big fat tyres and everything

# I love it

# And I need it

# I bleed it

# Yeah, she turns me on

# Alright

# Hold tight

# I'm a highway star... #

Made In Japan, of course, as a title was a joke

because in England in the '50s, '60s, '70s,

if something was said to be "made in Japan",

it was almost like it was second-rate so, to us, it was like,

"Oh, yes, just made in Japan,"

and it would only ever come out in Japan.

And we eventually heard it

and realised that we had something rather wonderful.

# I love her

# And I need her

# I seed her

# Yeah, she turns me on

# Alright... #

Back in the early '70s...

..live albums were viewed as sort of budget albums.

They were viewed as if you had nothing better to do.

They were...not considered a proper album.

Studio albums were proper albums.

Live albums were things you did on the side.

We were kind of wary of doing that

because we'd been a pretty heavily bootlegged band

for a couple of years.

There was a Japanese record company that wanted to record the live album.

We said, "No, we're not doing that."

They kept on insisting. We said,

"OK, we'll do it in certain conditions.

"A - it only comes out in Japan.

"B - it doesn't come out at all if we don't like it.

"And C - we mix it and have our own engineer record it."

Excellent musicians. What can you say about them?

They were the best at what they did,

without a shadow of a doubt.

I think they influenced a lot of groups over the years.

You know, I went to my first Deep Purple concert in 1973.

February, 1973. It blew my mind. I'd never seen energy at that level.

I'd never seen performance, I'd never seen personality,

like, it was the biggest thing I'd ever seen.

When I was growing up as a kid, I grew up in California,

but the first album that I really got into was Made In Japan.

Which was a double live album.

In the States, Made In Japan was probably one of the highlights.

All the hits that came through America were the ones that we got.

That was another brilliant album that was recorded under

really strange and extreme conditions, you know?

I remember Martin Birch was out.

We put the control room backstage,

so he had no physical eye contact with the band.

It was all just listening. We found that really strange.

But that turned out...

..fantastic, for the time. Brilliant album.

Maybe Ritchie and Ian weren't getting on well off stage,

but on stage there was still a massive important

amount of chemistry.

# Nobody gonna take my car

# It's gonna break the speed of sound

# Ooh, it's killing machine

# It's got everything

# Like a driving power

# Big fat tyres and everything

# I love her

# And I need her

# I seed her

# Yeah, she turns me on

# All right, hold on tight

# I'm a highway star

# I'm a highway star

# I'm a highway star

# Yes, I am

# Oh, yeah! #

I never saw either Zeppelin or Purple when I was a kid,

when they were in their heyday when they were all firing away.

I never saw Purple or Zeppelin.

So all I had to go on was their respective live things.

On that score, Purple kicked their pants.

I think that Made In Japan might be really, for a lot of people,

the quintessential Deep Purple record, especially from that time.

One of the greatest, if not the greatest live album ever recorded.

Of course, Martin Birch who worked with Purple

on just about everything, was our producer in Maiden for many years.

So you'd sit down over a few beers and talk to Martin

and you'd get the lowdown. You'd think, "Wow, it really was live.

"There were no overdubs. It was as was."

That's what makes it even more incredible,

it was done in eight track or something.

Come on, now.

Everybody, shake your hands like this.

That's nice. Come on, now.

Everybody!

# Ah. #

Come on, now. Clap your hands.

RHYTHMIC CLAPPING

I want everybody to clap their hands.

Really loud, now.

Every single live version, every single recording is different,

so if you hear three nights in Japan

in August '72, Strange Kind Of Woman,

Child Of Time, whatever, they're all different from each other.

Ritchie plays different solos, Ian sings different phrases,

Ian Paice plays different drum fills.

It's the coolest thing cos you never know exactly what's coming next.

SONG: Space Truckin'

# Well, we had a lot of luck on Venus

# We always had a ball on Mars

# We meeting all the groovy people

# We've rocked the Milky Way so far

# We rocked around with Borealice

# We're space truckin' round the stars

# Come on

# Come on

# Come on

# Let's go, space truckin'

# Come on

# Come on

# Come on

# Yeah, yeah, yeah... #

I think Made In Japan is possibly

one of the greatest live rock albums ever made.

I'll tell you why.

Firstly, because there was nothing like it that ever came out before.

Secondly, it showed you the difference between a band

in the studio and a band live.

# Come on

# Come on

# Come on

# Let's go space truckin'

# Come on

# Come on

# Come on... #

We recorded three shows.

By that time the anarchy that was happening on stage

had coalesced into certain...

You do something on stage as an adlib.

If it works, you tend to do it another night.

So all these little bits and pieces of punctuation between the songs

and during the songs were becoming second nature to us.

# Come on

# Come on

# Come on... #

To me, that is one of the most missed things in rock 'n' roll -

the thing that it's about a moment up on stage.

You don't know where it's going next.

The interplay between Ritchie and Gillan, for example.

Guitar, voice, guitar, voice, that kind of thing.

then the Jon and Ritchie thing.

It was just pure good fortune that really

we recorded that album at really the peak of our performing abilities.

Ritchie would solo until he didn't want to solo any more.

If you know what to look for, he'd turn around,

he'd raise his right hand.

He'd look over at Ian Paice and then, within two or four bars,

he'd go into the next part.

A band on fire, I would say. A band absolutely at the top of its game.

That's why I loved that album.

It's a beautiful snapshot of the band in all its glory playing live,

firing off each other, listening to each other,

working it out live on stage, on the night.

It wasn't really until we got back to England and put the tapes on...

Wow.

They sound great.

Maybe this should be out.

By that time, the American label, Warner Brothers,

weren't interested in a live album.

They wanted the next studio album which was, Who Do We Think We Are.

Back then you don't think you're going to last very long.

You think you're only as good as your last record.

If you're lucky, you can get another couple of years out of it

and then, who knows what?

# Yeah, yeah, yeah, yeah, yeah... #

One of the great Purple classics is on Who Do We Think We Are -

Woman From Tokyo.

It's made under very difficult circumstances.

We had In Rock then we had Fireball then Machine Head.

Then we had Who Do We Think We Are.

Again, a little more introvert.

A lot more difficult to record,

which I think is probably the problem with Who Do We Think We Are.

We were in a villa just outside Rome, which had been chosen for us

to record in because it had a wonderful room to record.

What they hadn't done was measure the size of an archway

through which the mobile unit would have had to have gone

to make it nice and easy. The mobile unit wouldn't fit under the archway.

So cables had to be brought in specially. Special long cables.

We staggered through, we got an album out of it.

Made In Japan was really the Machine Head record.

If we waited till after Who Do We Think We Are,

it would have been out of date,

so we really wanted to put it out there.

Which they eventually did, but only

because our management started importing copies into the States.

Warner Brothers realised that they were losing out.

Who Do We Think We Are. I think on that album... It wasn't that good.

It started off OK.

But there were cracks showing a little bit.

I think Ritchie and Ian weren't getting on too well.

I don't know why...that happened.

But, yeah, the cracks were starting to appear.

Somewhere between Fireball and Who Do We Think We Are,

going through the Machine Head period,

Ritchie and Ian Gillan agreed to disagree.

Something happened. I'm not sure what it was.

I'm not sure, actually, that either of them could now iterate exactly

what it was that went down between the two of them, but something did.

We'd done about as much as we could do with that kind of rock,

as far as I could see.

My idea was that there was far too much talent in the band

for it to remain static.

I thought we were compromising ourselves.

I thought we were losing our integrity.

My decision to leave the band was in '72.

Confused, young, unfocused, frustrated.

The thing that a lot of people forget is that he was not fired.

He left.

He wrote us a letter saying that he no longer agreed with

the direction that the band was taking.

I do have to say this -

that I think that if our management had understood

that it was actually a cry for help

that he would not have been out of the band.

Something had been thrown into the pot to change the formula.

I don't know what it was,

but it seemed to be not the Deep Purple that I'd joined in '69.

It's not the band it was. You suddenly think, well, I don't know.

I've always made my decisions on the basis

of I've got to be enjoying what I'm doing.

I didn't know how to fix it, so I thought I'd quit.

Broke my heart at the time. Didn't want that to happen one bit.

I was...

Even through the difficulties with Ritchie and Gillan...

I still thought we had a marvellous band.

Ladies and gentlemen, Deep Purple.

CHEERING

ROGER: In the band, it was widely presumed

that Ritchie was going to leave

and take Paicey with him.

Gillan had written his letter of resignation...

..which left Jon and I.

Ritchie is one of these guys,

I think he's always looking for something new.

Unbeknownst to us, he'd been secretly jamming

with Phil Lynott from Thin Lizzy.

He wanted to do a three piece, I think.

I wanted to form a band with Phil Lynott from Thin Lizzy.

I said to Ian Paice, "Let's have a three piece

"and we'll play some kind of Hendrix blues stuff."

BLUES SOLO

Our two managers, Tony Edwards and John Coletta,

summoned Jon and I to a restaurant one night in London and said,

"This is crazy.

"The band's breaking up

"and you're the biggest band in the world right now.

"Maybe you can persuade Paicey to stay with you,

"and we'll get a new lead singer and a new guitarist and carry on."

As painful as that was to understand, why not?

We said, "Yeah, let's do that."

Our first job, Jon and I, was to talk Paicey into staying.

At that point, Ian was involved.

He said, "You know what?

What would you want to stay in Deep Purple,

Ian's leaving, what's the problem with the band?

Why won't you stay with Purple?

I said, "Well, OK.

"I would expect Roger maybe to leave

"because I wasn't particularly into what he was doing."

I said, "But that's not fair, because Roger's done nothing wrong.

"I'd rather leave the band,

"get another thing going than fire somebody who's done nothing wrong."

The following...

I think in January, '73, with the Scandinavian tour,

we got Paicey in the dressing room afterwards and said,

"Look, stick with us, we'll get a new guitarist, a new singer."

He said he'd think about it.

You have to remember, I was very much a kid then.

I was a kid in a candy store. My life was one big party.

I really didn't worry about what was going to happen the next day,

the next gig.

That sort of responsibility was taken on by Ritchie and Jon,

who were a little further along life's highway than I was.

We did a Japanese tour. Then two American tours.

It was on the second American tour that I realised...

..that no-one was talking to me.

# Ah

# Ah-ah-ah-ah-ah-ah

# Ah-ah-ah-ah-ah-ah

# Ah-ah

# On my soul

# I love you

# Yeah

# Ow

# Ah. #

CHEERING

Ian said, "OK, we'll fire Roger if you're going to stay."

And I... I felt really awkward.

I said, "Em...OK."

It was a kind of weird feeling. I was kind of out in the cold.

I couldn't put my finger on what was going on.

We were in Jacksonville, Florida.

Came back to the motel we were staying in.

I knocked on Tony Edwards' door, our manager at the time.

He said, "What do you want?" I said, "What's going on?"

He said, "Nothing."

I said, "Something's going on."

He said, "No, no, no, no.

"Nothing's going on."

I said, "Well, I'm not leaving this room until you level with me."

He said, "OK. They want you to leave the band."

"Why?" He said, "I don't know, that's the way it is.

"Ritchie's decided he'll stay with the band on the condition

"that you leave."

Pretty hurtful thing to hear.

SONG: Child In Time

# Sweet child in time

# You'll see the line

# The line that's drawn between

# The good and the bad... #

Maybe I did the wrong thing, but I said,

"Well, you're not going to fire me.

"I'll keep my dignity and I'll leave of my own accord.

"Why didn't anyone tell me this before?"

They said, "Because we wanted to finish the tour.

"We didn't want you leaving in the middle of a tour."

I thought, "Fuck them. I'll fulfil my duty. I'll be the gentleman here.

"I'll fulfil my duties, and then I'm gone."

So the rest of that tour...

Actually, it was the Japanese tour was the last one.

I remember squaring with Jon Lord on the flight to Tokyo...

..he was pretty embarrassed and upset.

He said, "Well, sorry, mate, that's the way it is."

I felt really let down, actually by Jon and Paicey in particular.

More than Ritchie, strangely enough.

Ritchie had always been on his own course anyway.

Ritchie said to me on the final night...

We passed on the stairs leading up to the dressing rooms,

he said, "Just want to say it's not personal, it's business."

Then he carried on.

# Whoa-oh

# Ah

# Ah

# Ah

# Ah, I wanna hear you sing... #

Roger was let go and I stayed with the band.

We got in another bass player and another singer.

I wanted to go more toward the melodic content area,

which is what I'm doing now as well.

# Ah

# Ah

# Ah

# Oh-oh-ooh

# Yeah, yeah... #

It was like late '72 or even middle of '72...

Trapeze were playing at the Whisky a Go Go,

three nights or four nights.

I noticed, in the audience, Jon Lord was there one night,

Ian Paice was there,

Ritchie was there, like, separately.

And I just figured these guys were really good fans of Trapeze,

or they were becoming fans of Trapeze -

very vulnerable and naive back then.

And, eh...

Same thing happened in The Marquee in London,

and you know...they each came a couple of times,

and...you know...

And then, you know, I had a feeling they were there for another reason.

I just didn't realise that, at that moment,

they were going to ask me to join.

We'd all drifted apart, personally.

When there were no girlfriends, everyone would,

um...travel together.

Gradually - I was probably the worst culprit.

There's no finger-pointing here,

or anyone to blame or anything like that,

except maybe me.

It was...me as much as anyone, or probably more.

But the personal touch had gone.

So I didn't really know that Roger was leaving

until it had happened, on the plane home.

I mean, I was very pleased with the music, it was good.

I was not in any way ashamed of it.

But I thought there was a time to add a new dimension to it

or to adopt a slightly different approach,

without losing our identity,

but just naturally progress it.

Otherwise, we'd have faded away.

This is why I...

Nobody really wanted to do that, so that's why we left.

I mean, I left in, what, June?

And I think it was July or August that Billboard announced

the number one selling artists -

we had two awards, number one band and number one album.

And, uh...I was in the office one day

and I saw the billboard with the announcement and I looked at it -

a huge, great photograph showing Coverdale and Hughes.

And I just went, "That's...that's really the icing on the cake.

"That...that was my success.

"And not only have I been kicked out of the band,

"but that's been taken away from me as well."

I got...we all got watches with "Mark II" on it.

And I'm going, "Well, this is nice,

"but this surely should be Roger's watch."

I was getting plaques, I think I got a couple of plaques

from Who Do You Think We Are?

However, I was mature enough to realise

that it wasn't Coverdale's fault or Glenn Hughes' fault

any more than it was my fault when they got in Nick Simper.

It wasn't really uncomfortable. It was just the way it was, you know?

There was no point in holding grudges like that.

I think, em...

..Ian's timing,

Ian Gillan's timing about leaving the band was terrible.

I mean, the band was just on the edge

of becoming absolutely massive.

Um...

And, indeed...

..Burn, as an album, actually did take advantage of that

because it's a tremendously good album, um...

..and the band did take that leap into stadium rock.

HE PLAYS GUITAR SOLO

The year before Ian left, we did six American tours.

It was ridiculous.

And when Ian did quit, I really thought that was the end of it.

And then one of our managers, John Coletta,

showed me a copy of Billboard.

We had 11 different entries - singles, albums, back albums.

It was exploding. And that year, 1973,

we were the top album-selling artists in the United States.

And he said, "You can't stop now."

I said, "We just did! We lost our singer and our bass player.

"How much more final can that be?"

He said, "Replace them."

What I'd like to say to all of you is thank you very much,

you've been great.

Thank you for everything you've given us in Japan

and...this is the last night. The end.

God bless you, thanks a lot.

CHEERING AND CLAPPING

One of the reasons Made In Japan is so successful and still sells -

people still rate it as one of the great live albums, rock albums -

one of the reasons for that is the brilliance of our producer,

of Martin Birch.

Absolutely...under incredibly difficult conditions,

to produce that.

Um, no, I think we'd like to try it with the track again.

What do you think?

LAUGHTER

Because Made In Japan had come out so well,

I think it's regarded by a lot of people

as a great live album at that point.

Um...I think it actually enhanced the album Machine Head,

because it was virtually Machine Head live on stage.

I look back now only at...it did, it exploded.

And it was after Ian Gillan actually left

in...'73, I guess, um...

..that we became aware of the two versions of Smoke On The Water,

both in the America top ten at the same time.

I heard the live version of Smoke On The Water

in the car, one day, and...yeah...

# Din-din-din... #

Live version.

And Paicey starts and Jon starts and the bass came in

and I thought, "Wow!"

And I suddenly felt very proud of that.

As simple as it is, it was exactly what was needed.

HE PLAYS GUITAR RIFF FROM "SMOKE ON THE WATER"

Um...

I originally wrote it like that, with a kind of...

HE PLAYS VARIATION ON TUNE

..with a kind of...

That didn't, kind of, go down with the others at the time,

so we kept it to the...

HE PLAYS ORIGINAL RIFF AGAIN

CHEERING AND APPLAUSE

All right, thank you.

HE PLAYS OPENING BARS OF "GOD SAVE THE QUEEN"

SONG: Smoke On The Water

CHEERING AND CLAPPING

# We all came out to Montreux

# On the Lake Geneva shoreline

# To make records with a mobile

# We didn't have much time

# Frank Zappa and the Mothers

# Were at the best place around

# But some stupid with a flare gun

# Burned the place to the ground

# Smoke on the water, fire in the sky

# Smoke on the water

# Burn

# Burning down

# Ah!

# Yeah!

# We're burning down

# Oh, let me hear ya

# We ended up at the Grand Hotel

# It was empty, cold and bare

# But with the Rolling truck Stones thing just outside

# Making our music there

# With a few red lights and a few old beds

# We make a place to sweat

# No matter what we get out of this

# I know, I know we'll never forget

# Smoke on the water, fire in the sky

# Smoke on the water

# Burning down

# Hey, yeah!

# And the fire was burning... #

Here's a funny thing - this is an odd thing,

but I've noticed that when any guitar player

goes to redo a track from Machine Head,

they overdo it.

And it's not because they're making

a mistake or anything like that.

It's really because the music

is so powerful,

the memory of the music is so powerful,

that you just think you have to turn it up louder,

have more distortion or more power

and we're often shocked when we go back to the original recordings

and we say, "Wow - this is actually quite delicate."

# Yeah...!

# It's tumbling, tumbling down

# Baby... #

Being a drummer, Ian Paice, he was my hero, my idol.

He was one of my first real influences

and I listened to that record over and over.

I always thought Made In Japan was interesting

because it showed Deep Purple jamming

and changing the songs, changing up some of the arrangements,

and captured them on stage where a lot of people feel

they were absolutely lethal, they did their best work

and it was just one of those ultimate live albums of the time.

These guys were just in a different league -

Deep Purple were better than everybody else.

APPLAUSE

Hey! Thank you.

Thank you all. Thank you. Thank all very much.

God bless you, you've been fantastic.

Thank you for coming and we'll see you around sometime.

Thank you. Thank you all for that.

Hey!

MC SPEAKS IN JAPANESE

..Deep Purple!

Wahey! Down with the monitors, eh?

Down with the monitors, mate. Yeah.