Posted by Nick on Monday, February 26th, 2024,
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– the riff is just played four instead of six times at the beginning,
– except for the last four bars of it (seven if you count his soloing over the reemerging riff) Blackmore’s solo is sacrificed completely (and so are correspondingly Little Ian’s trademark snare rolls during the verse solo bars),
– the third verse is discarded altogether (is that perhaps the reason why DC and GH only sang verses 1 and 2 in the Mk III and IV live versions of the song and then repeated the first verse jointly as their “third” verse?),
– the coda is extremely abridged and fades out much earlier.
I remember owning a 70ies sampler called “K-Tel’s Dynamite”
which featured that version of SOTW as its last track.
And my first closer encounter with the song (other than hearing it for the first time over a jukebox in a restaurant in the summer of 1974 at the lunch following my then Catholic Confirmation; I immediately found it incredibly catchy, just like Alice Cooper’s School’s Out, it was likely the studio edit) was the (unedited) live version from a 1974 Warner Bros compilation double album (featuring chiefly, but not exclusively acts from that label) called “Heavy Metal – 24 Electrifying Performances”:
That double album became pretty much determinative for my musical tastes to this day! 😎
Back to the original studio single edit: As single edits go, it was highly effective, capturing the essence of the song and hammering the trademark riff and chorus into the heads of the listeners. Job well done, I’d say. 👍
Paicey is right: once the greedy corporations started dictating what the artists were to record and what music radio stations were to play, the ballgame was over. MTV was a prime example – at least, in the United States. Prior to 1981, people listened to music and only at concerts did they also see it. The artists had to be good. But once MTV was born, it started to become more about how bands looked and how well the videos were produced. Video replaced audio. And then, the Federal Communications Commission deregulated the music “industry” and allowed mega-corporations to swoop in and gobble up most of the radio stations – up to seven could be owned by a single company instead of three, as in the past. Once they got a monopoly, the corporations started telling the disc jockeys to play the same “classic” hits over and over and over and over and over and over and over and over and over. No longer did a song become a hit because some disc jockeys and radio listeners liked it; tunes no longer spread organically but by corporate brainwashing. Fortunately, there is still a large underground where good music is made and appreciated.
Another wonderful interview with Ian Paice & kudos to the interviewer also, well done. It seems we cannot get away from The Who lately. Good to hear Paice mention them in that light & as he says that time in music amongst others things was very special indeed. 1971, 72 & 73 were all incredibly strong years in popular music. Thanks for posting the interview. Cheers.
I wiggle in my chair
Can I buy you a beer?
What a guy ……….( Ian Paice…..still happy he gave me a drumstick a few weeks ago
on a Perpendicular concert in The Netherlands).
Yeah
Meet the new boss
Same as the old boss ( The Who , won’t get fooled again ).
Great interview with Paicey, I’ve heard him mention The Who favorably several times in interviews. I remember Lemmy saying a similar thing about heavy metal, that before Purple, Sab, Zep, you really have to go back to The Who. And a great band indeed. Townshend can’t play lead like Blackmore, but Ritchie couldn’t play rhythm like Pete. Both bands are my favorites, and both contain most of my individual favorite singers and musicians as well. Peace.
![[hand]](/hs-pics/portraits/hands/morse9.jpg)
![[face]](/hs-pics/portraits/faces/mcbride1.jpg)
Unauthorized copying, while sometimes necessary, is never as good as the real thing
It’s been ages since I heard the Warner Bros single edit of the studio version that Little Ian mentions:
https://www.youtube.com/watch?v=j5DXPxMpxwk
The deletions were:
– the riff is just played four instead of six times at the beginning,
– except for the last four bars of it (seven if you count his soloing over the reemerging riff) Blackmore’s solo is sacrificed completely (and so are correspondingly Little Ian’s trademark snare rolls during the verse solo bars),
– the third verse is discarded altogether (is that perhaps the reason why DC and GH only sang verses 1 and 2 in the Mk III and IV live versions of the song and then repeated the first verse jointly as their “third” verse?),
– the coda is extremely abridged and fades out much earlier.
I remember owning a 70ies sampler called “K-Tel’s Dynamite”
https://www.discogs.com/release/867506-Various-K-Tels-Dynamite
which featured that version of SOTW as its last track.
And my first closer encounter with the song (other than hearing it for the first time over a jukebox in a restaurant in the summer of 1974 at the lunch following my then Catholic Confirmation; I immediately found it incredibly catchy, just like Alice Cooper’s School’s Out, it was likely the studio edit) was the (unedited) live version from a 1974 Warner Bros compilation double album (featuring chiefly, but not exclusively acts from that label) called “Heavy Metal – 24 Electrifying Performances”:
https://www.discogs.com/release/1624466-Various-Heavy-Metal-24-Electrifying-Performances
That double album became pretty much determinative for my musical tastes to this day! 😎
Back to the original studio single edit: As single edits go, it was highly effective, capturing the essence of the song and hammering the trademark riff and chorus into the heads of the listeners. Job well done, I’d say. 👍
February 26th, 2024 at 21:44Paicey is right: once the greedy corporations started dictating what the artists were to record and what music radio stations were to play, the ballgame was over. MTV was a prime example – at least, in the United States. Prior to 1981, people listened to music and only at concerts did they also see it. The artists had to be good. But once MTV was born, it started to become more about how bands looked and how well the videos were produced. Video replaced audio. And then, the Federal Communications Commission deregulated the music “industry” and allowed mega-corporations to swoop in and gobble up most of the radio stations – up to seven could be owned by a single company instead of three, as in the past. Once they got a monopoly, the corporations started telling the disc jockeys to play the same “classic” hits over and over and over and over and over and over and over and over and over. No longer did a song become a hit because some disc jockeys and radio listeners liked it; tunes no longer spread organically but by corporate brainwashing. Fortunately, there is still a large underground where good music is made and appreciated.
February 26th, 2024 at 22:39Another wonderful interview with Ian Paice & kudos to the interviewer also, well done. It seems we cannot get away from The Who lately. Good to hear Paice mention them in that light & as he says that time in music amongst others things was very special indeed. 1971, 72 & 73 were all incredibly strong years in popular music. Thanks for posting the interview. Cheers.
February 27th, 2024 at 06:20I wiggle in my chair
Can I buy you a beer?
What a guy ……….( Ian Paice…..still happy he gave me a drumstick a few weeks ago
on a Perpendicular concert in The Netherlands).
Yeah
February 27th, 2024 at 22:44Meet the new boss
Same as the old boss ( The Who , won’t get fooled again ).
Great interview with Paicey, I’ve heard him mention The Who favorably several times in interviews. I remember Lemmy saying a similar thing about heavy metal, that before Purple, Sab, Zep, you really have to go back to The Who. And a great band indeed. Townshend can’t play lead like Blackmore, but Ritchie couldn’t play rhythm like Pete. Both bands are my favorites, and both contain most of my individual favorite singers and musicians as well. Peace.
February 28th, 2024 at 02:40