Chris Simmonds interviews Jon Lord for Beat International Magazine, December 1975
(article transcription continues below the cut)
Lord of The Deep
“I don’t think rock could exist and roll exist without solos — it’s a vital form of musical expression.”
Jon Lord of Deep Purple is undoubtedly a rarity. He combines the most pleasing qualities, rarely found among others enjoying a similar position on the Rock and Roll roundabout. We have man who has been making successful records for over seven years, and who remains both verbally and musically articulate with out ever resorting to the more flamboyant pretensions exhibited by so many of his contemporaries. He is a star, to be sure, but never to the point of camouflaging the musician.
With the reformed Purple off to the States until Christmas, we were delighted when Jon agreed to meet us at the airport before take-off to talk about Purple, new and old, and in general his particular role as keyboard player. The time was apt as we had just heard enough of the tapes of the band’s new album (Come Taste The Band) to suggest that it would totally eclipse the rather disappointing Stormbringer.
Jon, notorious for his late plane catching, arrived early this time, and cast his mind back to the days of Deep Purple Mark 1. The In Rock album was certainly the first major step towards worldwide acceptance, and we asked how this style change had been linked with the departure of original members Rod Evans and Nicky Simper, vocals and bass.
Concise
“Christ, that far back. My memory isn’t all that good. Basically, it was that three people in the band wanted two to leave, and In Rock shows exactly what we wanted to get into. In fact, we had already been playing the In Rock style on stage, but we had never done it on an album. With lan Gillan and Roger Glover in the band, we had two rock and rollers, much more so than the others.
“It might just have been the climate of the times, but we did feel that the previous albums had rambled a bit. This attitude almost went against us, because we were so concise with In Rock that it became very hard to follow. This move was in fact largely motivated by Ritchie, and the general agreement by the majority of the band was that this was what we should do.
“I went down at the time as saying that I totally agreed with the policy but thought it should have been little more relaxed, and as a result of that Ritchie and I had a few arguments. These resolved themselves and resulted in Machine Head which, apart from the new one, was to my mind our best album.
If there were the odd moments of apathy from Ritchie, I certainly never shared them, apart from Who Do We Think Are which I disliked intensely. It was done in a mood of total fed-upness. lan left shortly afterwards, because by then he and Ritchie were having head-on collisions, so that probably caused the bad moods of that time.
Freedom
“However, most of the albums were a great joy to make. Although Fireball got slagged a bit, you must remember that it followed a smash success album, and that’s always difficult. It still gave me great satisfaction.” During this period a very prominent feature of the Purple music was a never ending rash of frantic solos. How far did Jon feel that they were an integral part of the songs?
“So long as it fits the song, I’m delighted to have them. We have reached the point now that even when I am playing the part of a backing musician I have much greater freedom. The song structure with Glenn (Hughes) and Tommy (Bolin) isn’t set any more. We are trying to loosen the whole thing up, and cut out the ‘this happens in that bar and that happens there’ attitude.
“The days of the really long solos have gone, and I am talking about the twenty five minute jobs. Everyone will still have their solo slot, because basically that is what Deep Purple is all about. We have always prided ourselves on our individual abilities, and we like to show it. Quite frankly, we sometimes went much too far in the past, and some of the others’ solos bored me.”
Given Jon’s feelings about solos, did he have any special preference about playing the more direct songs like Speed King and Highway Star or the more protracted tracks like The Mule?
“I’m quite happy with either role, so long as I am happy with the song in the first place. I don’t mind sitting back behind the guitar because that is just as creative as leading the song. Actually, that’s a tricky question, because the Hammond doesn’t really sit all that well in rock and roll as a backing instrument. It took me a long time and a lot of hard work to find an acceptable way of incorporating the instrument… Where was I? Oh yes, at the same time I have to solo — every musician does.
I don’t think rock and roll could exist without solos — it’s a vital form of musical expression. It’s a way of stretching out, but of course how much you do so is up to you, or the band. A musician should solo as long as he feels he is feeding off the audience, but I feel that it is unforgivable to bore an audience.”
Possibilities
With the new members, what possibilities did Jon see as far as his own instrument was concerned? “I really see many. Ritchie was a very demanding player in that he really enjoyed the limelight. I mean, we all did obviously, but I suppose he was so extrovert on stage to balance the introvert he was offstage. It’s hard to speak objectively as he was my friend for seven years. One of the nice things about having an American in the band is the more quote laid back unquote atmosphere. I enjoyed Tommy’s solo album.” And Ritchie’s album?
“There was certainly a Purple sound, but thought it was second rate Purple, and you can print that. I was surprised to say the least, because he said he wanted to go right back to the raw roots he felt we were abandoning. At the same time I suspect that his next album will be a bitch.”
Apathy
On the subject of these recent albums, Jon went on to compare Stormbringer and Come Taste The Band. “I liked the Stormbringer album. It was certainly a little different. There was a certain apathy on Ritchie’s part — he was already thinking of leaving — and perhaps it shows. We should have attacked it more as Deep Purple rather than approaching it in that dispirited way. I’m really not trying to make Ritchie a whipping boy — I really don’t want to — but you mentioned the word apathy and I think I would have to go along with that. But if the album didn’t quite come off, it didn’t sell as well as the others had, so there’s justice there.”
Jon is well known for his classical inclinations, and we wondered if they might reemerge more strongly within the new band framework?
“I’m really two musicians, and they meet somewhere in the middle. The outer edges can never get together, and that’s why I make solo albums, just to get things out of my head and out of my system. Look — I’m not carrying a cross for classical music — I’m a rock and roller and I have been for ten years. There just happens to be more, that’s all.”
What did he feel that the future held for the keyboard? “I think now that it has arrived with a vengeance, it will stay. Keyboard players are having to get more versatile in respect of the number of instruments they are having to play. The organ sound as just an organ sound is already overused, and I personally use synthesizers, a clavinet and a Fender Rhodes besides the Hammond.
Technique
“I have countered this dilemma of 'old hat’ sound by having my set up built specially for me. I have four Leslies which have been totally ripped out and replaced with better components, Crown amps, and all the keyboards, about six, go through the Leslies. The organ has also been messed around with, so it’s not a straight Hammond sound — it’s a particular sound that I feel fits our kind of music.”
Jon was also glad to offer tips to the embryonic keyboard wizard. “Well, even though it’s 'just’ rock and roll, I think it’s invaluable to acquire a technique of some sort. By all means absorb from other people, and try find out how they do it, but then you mus try to branch off and perfect your own style. Things like scales and arpeggios, although very boring, are bloody well worth while. If you are soloing, and your fingers won’t do what is in your head, it’s the most frustrating thing in the world. I have never regretted the hours and hours of practising that I have put in. I try to listen as much as I can to what else is going on in the rock world — I think it is important to be aware of what your peers are doing.
Relaxation
“I was talking to lan Gillan the other night on just this subject, and he said he never used to listen to anyone but Deep Purple and Elvis Presley. He admitted that he was totally wrong. He said that since he had been off the road he had been listening to everything that he could, and he realised how much he had missed. You don’t listen to others to copy — just to judge the feel of the business. Anyway, it’s a relaxation to me.”
The hidden speakers in the roof of the lounge was announcing the departure of the Purple flight. “I feel as if I could go on for another twenty years,” said Jon jumping up. “Thanks a lot for talking to me.”
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