Hammond.”
“Jon Lord is the diplomat, the
analyzer,” adds Glenn Hughes, remembering his days with him in Purple. “He was
probably the backbone of the group, actually. At the end, when a lot of
decisions were made, they were by him, because he was the more stable person, I
thought, at the time.”
Neil Murray makes a good point, however,
that even though Pete Solley’s tracks were replaced by Jon’s, Solley’s input
can be felt through the record’s jazz fusion touches. “You’ve got to remember,
Pete Solley was the keyboard player on Trouble , and recorded the
whole album. So his influence, keyboard-wise — which wouldn’t be Hammond organ
and more traditional kind of rock band keyboards — it was more sort of synthesizers
and stuff. But then Jon Lord came in and replayed all of the keyboards on Trouble ,
having not been involved in the writing or the rehearsing of it at all.”
Murray can’t remember if that meant that
Lord more or less played to Solley’s parts or not, but he asserts that the
rushed process would have resulted in Jon not really being Jon. “I wasn’t there
in the studio when he was doing it. I would’ve thought he brought his own thing
to it, he wouldn’t have had enough time to really be familiar with the
songs. And also, you know, you play differently if you’re on your own, overdubbing
on recordings than when you’re playing all together as a band. You’re so under the
spotlight in the studio that anything you try out almost has to be right the
first time. Whereas if you’re just rehearsing away all together,
you can make a mess of things and try stuff out. You know, it doesn’t matter so
much.
“And then you actually hone it down to
what is really required or what works the best. And the trouble is, really, you
should go out on the road and play all the songs twenty times before you go in the
studio. But generally speaking, that’s not possible. And that’s the
frustrating thing about any album. That you could do it so much better, where the
performances or even the arrangements could be a lot better if you were able to
play them live first and try them out.”
“We would all do solo spots and we would
hang out together,” muses Moody, on the band as gang in the formative years. “We
would have a lot of fun and we were all mates. It was like being in school
again. It was the best camaraderie I have ever experienced in my entire musical
life. Of course, we never made much money. Bands don’t, unless they
sell lots of records. We never cracked the States and we never even came there.
Unless you crack the States you don’t make much money. In those days, the
record companies had money to put in the bands.”
On the subject of money, David recalls
that he had begun the process of sharing the publishing rights on one song per
album. He hoped that would assuage some of the misgivings about how low the
wages were that he had to pay the guys back then.
The cover art of the record, at least in the
UK, mimicked the indie NWOBHM look of the EP, using only black and red ink on
white and minimal imagery. Like Snakebite , however, the
art would be wisely shelved for something that popped a bit better, in Trouble ’s
case, an angry white snake being hatched from a levitating egg.
“This album is going to give you nothing
but trouble,” read one full-page ad for the record, which included a full slate
of UK tour dates. “ Trouble is the new album from Whitesnake that has ten
potent tracks including the current single, ‘Lie Down (A Modern Love Song).’ ‘Lie
Down’ is the first single since Jon Lord joined David Coverdale’s Whitesnake to
complete the band’s line-up. Listen to Whitesnake and get into Trouble .”
Trouble opens with a squarely heavy metal rocker called “Take Me With You,”
distinguished as much by Neil Murray’s tight bass line as David’s lascivious
lyric. It’s a fast one, missing any trace of the blues, and it turns on an odd
time
“Jon Lord is the diplomat, the
analyzer,” adds Glenn Hughes, remembering his days with him in Purple. “He was
probably the backbone of the group, actually. At the end, when a lot of
decisions were made, they were by him, because he was the more stable person, I
thought, at the time.”
Neil Murray makes a good point, however,
that even though Pete Solley’s tracks were replaced by Jon’s, Solley’s input
can be felt through the record’s jazz fusion touches. “You’ve got to remember,
Pete Solley was the keyboard player on Trouble , and recorded the
whole album. So his influence, keyboard-wise — which wouldn’t be Hammond organ
and more traditional kind of rock band keyboards — it was more sort of synthesizers
and stuff. But then Jon Lord came in and replayed all of the keyboards on Trouble ,
having not been involved in the writing or the rehearsing of it at all.”
Murray can’t remember if that meant that
Lord more or less played to Solley’s parts or not, but he asserts that the
rushed process would have resulted in Jon not really being Jon. “I wasn’t there
in the studio when he was doing it. I would’ve thought he brought his own thing
to it, he wouldn’t have had enough time to really be familiar with the
songs. And also, you know, you play differently if you’re on your own, overdubbing
on recordings than when you’re playing all together as a band. You’re so under the
spotlight in the studio that anything you try out almost has to be right the
first time. Whereas if you’re just rehearsing away all together,
you can make a mess of things and try stuff out. You know, it doesn’t matter so
much.
“And then you actually hone it down to
what is really required or what works the best. And the trouble is, really, you
should go out on the road and play all the songs twenty times before you go in the
studio. But generally speaking, that’s not possible. And that’s the
frustrating thing about any album. That you could do it so much better, where the
performances or even the arrangements could be a lot better if you were able to
play them live first and try them out.”
“We would all do solo spots and we would
hang out together,” muses Moody, on the band as gang in the formative years. “We
would have a lot of fun and we were all mates. It was like being in school
again. It was the best camaraderie I have ever experienced in my entire musical
life. Of course, we never made much money. Bands don’t, unless they
sell lots of records. We never cracked the States and we never even came there.
Unless you crack the States you don’t make much money. In those days, the
record companies had money to put in the bands.”
On the subject of money, David recalls
that he had begun the process of sharing the publishing rights on one song per
album. He hoped that would assuage some of the misgivings about how low the
wages were that he had to pay the guys back then.
The cover art of the record, at least in the
UK, mimicked the indie NWOBHM look of the EP, using only black and red ink on
white and minimal imagery. Like Snakebite , however, the
art would be wisely shelved for something that popped a bit better, in Trouble ’s
case, an angry white snake being hatched from a levitating egg.
“This album is going to give you nothing
but trouble,” read one full-page ad for the record, which included a full slate
of UK tour dates. “ Trouble is the new album from Whitesnake that has ten
potent tracks including the current single, ‘Lie Down (A Modern Love Song).’ ‘Lie
Down’ is the first single since Jon Lord joined David Coverdale’s Whitesnake to
complete the band’s line-up. Listen to Whitesnake and get into Trouble .”
Trouble opens with a squarely heavy metal rocker called “Take Me With You,”
distinguished as much by Neil Murray’s tight bass line as David’s lascivious
lyric. It’s a fast one, missing any trace of the blues, and it turns on an odd
time
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