On July 26, Eagle Rock Entertainment will re-release one of the greatest debuts in all of hard rock, “Shades Of Deep Purple,” in addition to its follow-up, “The Book Of Taliesyn” (originally released four months later that same year), and Deep Purple’s 1969 self-titled third album. All three re-releases come complete with bonus tracks of b-sides, studio outtakes and BBC jams.

“Shades Of Deep Purple” indeed had many colors. The high percentage of instrumentals immediately set them apart from their peers. Their covers of The Beatles (“Help”), Cream (“I’m So Glad”) and The Jimi Hendrix Experience (“Hey Joe”) are totally unique.

“The Book Of Taliesyn” cemented their rep for swirling keyboard drama and very electric guitar soloing. This time the hit was a cover of Neil Diamond’s “Kentucky Woman.” But it was the creative reworking of another Beatles tune, “We Can Work It Out,” as well as a righteous treatment of Ike & Tina Turner’s “River Deep Mountain High,” jamming on for over 10 minutes that caught the attention of the underground.

And “Deep Purple,” the album, had a mix of the psychedelic and the growing jam mentality.

Track Listing:

Shades of Deep Purple:
1.) And The Address
2.) Hush
3.) One More Rainy Day
4.) Prelude: Happiness I’m So Glad
5.) Mandrake Root
6.) Help!
7.) Love Help Me
8.) Hey Joe
9.) Shadows (album outtake)
10.) Love Help Me (instrumental version)
11.) Help! (alternative take)
12.) Hey Joe (BBC Top Gear session)
13.) Hush (live US TV)

The Book of Taliesyn:
1.) Listen, Learn, Read On
2.) Wring That Neck
3.) Kentucky Woman
4.) a.) Exposition / b.) We Can Work It Out
5.) Shield
6.) Anthem
7.) River Deep, Mountain High
8.) Oh No No No (studio outtake)
9.) It’s All Over (BBC Top Gear session)
10.) Hey Bop A Re Bop (BBC Top Gear session)
11.) Wring That Neck (BBC Top Gear session)
12.) Playground (remixed instrumental studio outtake)

Deep Purple:
1.) Chasing Shadows
2.) Blind
3.) Lalena
4.) Fault Line
5.) The Painter
6.) Why Didn’t Rosemary?
7.) Bird Had Flown
8.) April
9.) The Bird Has Flown (alterntive b-side version)
10.) Emmaretta (single a-side)
11.) Emmaretta (BBC Top Gear session Jan. 16, 1969)
12.) Lalena (BBC radio session June 6, 1969)
13.) The Painter (BBC radio session June 6, 1969)

Seminal British rockers UFO have confirmed a new run of North American dates kicking off this September in Santa Rosa, CA.   The band will be touring North America in support of their greatest hits collection “Best of a Decade” which is out now on SPV/Steamhammer.  UFO is also in the process of working on a new studio album which is scheduled for release in early 2012.

Providing direct support on the tour with be Brazilian rockers MINDFLOW.

UFO ON TOUR WITH MINDFLOW
9/15: Santa Rosa, CA @ Last Day Saloon
9/16: Sacramento/Orangevale, CA @ Boardwalk
9/17: Santa Clara, CA @ Avalon
9/19: Portland, OR @ The Aladdin Theater
9/21: Modesto, CA @ The Fat Cat
9/23: Las Vegas, NV @ Boulder Station Casino
9/24: Los Angeles, CA @The Key Club
9/29: San Juan Capistrano, CA @ The Coach House
10/1: San Bernadino, CA @ Orange Raceway
10/6: Dallas, TX @ House of Blues
10/7: Houston, TX @ Warehouse Live Studio
10/8: San Antonio, TX @ Backstage Live

For more info visit:
http://www.ufo-music.info

Frontiers Records and Goldmine have teamed up to give you a wonderful hard rock ‘n’ roll weekly giveaway, running from June 15-22. Win new CDs from the classic rockers Uriah Heep (“Into the Wild”), Black ‘N Blue (“Hell Yeah”), The Poodles (“Performocracy”), and King Kobra (personally signed by Carmine Appice). Five (5) winners will receive the above releases in a bundle.

TO ENTER: The “Goldmine/Frontiers Giveaway sweepstakes” (“Sweepstakes”) begins at 12:01 AM Eastern Time (“ET”) on June 15, 2011 and ends at 11:59 PM ET on June 22, 2011.

There are two ways to enter:

“Like” the Goldmine Magazine fan page on Facebook www.facebook.com/goldminemag and then post to our wall or leave us a comment briefly explaining which of the four bands (Uriah Heep, Black ‘N Blue, The Poodles, and Carmine Appice’s King Kobra) you like the best. Entrants who already “Like’ Goldmine Magazine need only to leave a comment on the Goldmine Magazine Facebook fan page during the sweepstakes entry period prior to 11:59 PM ET on June 22, 2011.

Or “Follow” Goldmine Magazine on Twitter twitter.com/goldmine_mag and tweet using the hash tag #goldminerocks which of the four bands (Uriah Heep, Black ‘N Blue, The Poodles, and Carmine Appice’s King Kobra) you like the best., during the sweepstakes entry period prior to 11:59 PM ET on June 22, 2011. Entrants who already “Follow’ Goldmine Magazine need only to tweet Goldmine Magazine during the sweepstakes entry period prior to 11:59 PM ET on June 22, 2011.

NOTE: This is a different giveaway than our monthly Goldmine Giveway.

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By Mick Wall

Unlike the intimidating guitar-matador I’d first met in Thin Lizzy over 30 years before, the Gary Moore of recent times was an easier-going, if still edgy fellow. You didn’t mess with him but at least you could have a laugh and a joke.

MOORE performs at the Wembley Arena in London, England, 2004 (AP Photo/Richard Lewis).

As fellow Lizzy guitarist Scott Gorham recalls, “You know how me and Phil [Lynott] used to beat the sh*t out of ourselves with all the drugs and drink and women. Gary was totally on the other side. No drinks, no drugs… He was all about the guitar, all about the music.”

So how was it that he died so young? Only 58, when he passed away in his sleep of a suspected heart attack, this was Gary Moore, “the sensible one,” as Lizzy drummer Brian Downey puts it now.

Robert William Gary Moore was born in Belfast, Northern Ireland, in April 1952. He picked up his first guitar, a battered old acoustic, when he was just eight, and though left-handed, taught himself to play right-handed. He formed his first band, the Beat Boys, who specialised in Beatles songs, aged 11. By the time he first met Brian Downey in 1967, however, he was already playing electric blues.

“John Mayall’s Bluesbreakers were a massive influence on me personally, particularly the Beano album with Clapton,” he told me. “I also saw the Bluesbreakers play live as a teenager when they came to Belfast, at Club Rado, which was in the toughest part of town. I saw Mayall there with Peter Green, who, again, became a massive influence on me, and again, later, with Mick Taylor on guitar.”

Moore’s big break came when he joined Downey and his pal Phil Lynott in a Dublin-based outfit called Skid Row. Three years older, Phil took Gary under his wing. Sharing one room, “Phil was like our mum. I was only 17 and he’d be like, ‘Right, yer fookin’ breakfast’s ready and you ain’t going anywhere till you eat it!’”

When Lynott later formed Thin Lizzy with Downey, it was to Gary he turned when original guitarist Eric Bell left — the first of three different stints Moore would enjoy with them.

Gorham recalls their first rehearsal. “When he strapped on the guitar and started playing, it was, ‘Holy sh*t, man! This guy’s gonna dust me!’”

Moore’s relationship with Thin Lizzy disintegrated, however, after he walked out of a US tour in 1979. “There’s no doubt about it, we were f**king pissed off,” recalls Gorham. “Phil was so angry he could hardly even talk about it at the time.”

Moore, though, had had a gutful of Lynott’s and Gorham’s decline into drug addiction. He told how Phil had gone from being “the first guy in the studio and the last guy out, a workaholic,” to starting each day on “Black Rose” — Gary’s last Lizzy album — “with a joint in one hand and a glass of whiskey in the other.”

Ironically, both Moore and Lynott would enjoy one of their biggest hits with the post-Lizzy single, “Parisienne Walkways.” Three years later Lizzy had collapsed, leaving Lynott a bereft and lonely figure. Moore now took on the role of saviour, bringing Phil in to record “Out In The Fields,” a UK Top 10 smash, as a duo.

When Lynott died in January 1986, “I felt terrible but you could see it coming,” Gary said. “In a weird way it kind of spurred me on to finally do my own thing.”

When, in 1990, Moore swapped his rock glad-rags for a sharp suit, and recorded the most successful album of his career, “Still Got The Blues,” it seemed like vindication.

“It’s such a relief not to have dress like the guy in Def Leppard anymore,” he told me. “At my age I was beginning to feel like a prick. Now I’m truly being myself, playing the music that’s always been dearest to me.”

Downey, who played on “Still Got The Blues,” recalls how “He was just superb to play with and he was well together. He didn’t smoke, he had a few drinks, but he was into health foods.”

For rock fans, though, Moore’s most memorable appearance in recent years had come in Dublin, at a commemorative show in 2006 marking the 20th anniversary of Lynott’s death.

Says Gorham, “The last time I saw Gary we were up there playing guitar, standing shoulder to shoulder with each other, smiling away and having a good laugh. So it was all good.”

At least while it lasted.