Chords for Joe Lynn Turner - Deep Purple, Slaves & Masters (6 of 11)
Tempo:
108.4 bpm
Chords used:
F
E
Fm
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] Well, this was another one of those things that they had apparently a singer already
and Richie was not happy [F] with anything and he didn't feel this guy could cut it.
He was a friend of mine, I know the guy, shall remain nameless.
And they called me at the last minute, the 11th hour, it's always the 11th hour with
these guys, and they said, you want to fancy coming up to Vermont in the winter?
Right?
And I said, bring your ski gear or whatever.
Ski gear?
You know, I have rentals.
I know.
To make a long story short.
Anyway, I drive up to Vermont and they were in a country club that was no longer being
used because it was winter and it's a summer club, so they rent out, they always did odd
things like this, Deep Purple, you know, in Montreux and so on and so forth, in the chalet and whatnot.
And it's always great because you're always in some weird exotic place.
And I come walking in and it smelled of cigarettes and beer.
I'll never forget that.
And Richie started playing Hey Joe.
He saw me come in.
He just started playing Hey Joe by Hendrix.
And I just picked up the mic and I sang.
And everybody played.
And we did this huge jam, you know, everybody soloing and just playing and just, you know,
improvising.
And then finally when it all kind of died down, everybody was like, yeah.
And they said, could you write lyrics?
And Richie went, get your bag out.
And I had the bag, of course.
And what later turned into The Cut Runs Deep, which we recorded at your studio, it was already
kind of written, you know, what about the heartache?
What about the, you know, all this?
And John had the riff, you know, the piano riff.
And they just went, that's the guy.
So unfortunately, my friend never made it, but I did.
And it was a blessing and a curse, of course, because, you know, there was some super huge
egos in that band.
You know, it was the Richie and Joe show, and we were going to steal the band again,
make it the Deep Rainbow, all these ridiculous things.
I think [Fm] Slaves and Masters, which you have credit to, is probably the last great purple
album there was.
I love it.
Got it.
It's one of Richie's favorite albums as well.
It's a great album.
Stands up to this day.
It's one of the best recorded, best written.
I mean, that's a great album, pound for pound, song by song.
Yeah, it is.
I could name every title and just go, whoo, you know, who can beat that?
You know, it's right up there with the best of them.
And we never really got enough notoriety from it because the emotional reaction from the
fans, not [F] the fans per se, but the Deep Purple fan club, they just lost their minds.
They couldn't deal without Gillen.
And Richie can't stand Gillen.
And I had no problem with Ian.
Ian's great, as far as I'm concerned.
Never did anything to me.
He always gives me a beer and a hug, so I'm happy with it.
But I think that that was a different audience, you know, coming from America, basically.
You know, the U.S. is a complete different mindset than being this traditional English
band, Deep Purple, with its roots, you know, in the stuffiness of England.
And believe me, it has a lot to do with it culturally.
I learned that.
It has a lot to do with it.
And that's who really kind of reacted because everywhere else in the world, this was one
of their favorite albums, Slaves and Masters.
When we toured it, everybody loved it.
They loved the lineup.
They loved the new look.
Because, you know, I made everybody dress better, you know, and look better.
And Richie was on them, too.
You know, it was more like we really started.
What we wanted to do was the model that Aerosmith had created with Desmond Child.
And as you know, we brought Jim Peterick in, who with Jimmy Jameson in Survivor.
So he was a great writer and we were writing these great songs for the second album.
And they didn't want to hear it.
And the band didn't want to hear it because Richie and I were okay with it.
Roger was in the middle and there was John and Nina that were absolutely against it.
And they were really, I have to say, jealous.
They were absolutely jealous of it.
And I don't care what you say, guys, you were.
You were threatened.
And I understand that.
They felt it was slipping away from them.
And that focus was being shifted.
And it was.
Because of more commercial purposes.
That's exactly what we were supposed to be doing.
Become more commercial.
In other words, why can Aerosmith come from the grave and grab Desmond Child and
all of a sudden come out with Rag Doll and all these songs?
And that was the era.
And Def Leppard did it, too, with Mud Lang.
And everybody was doing it.
And we were doing it.
We wanted to do it.
What I learned is you're not just, you're, if there's dissent within the band,
it's not gonna last.
You know?
I mean, it's the old story of, you know, the rock star egos and
all this that break up the bands.
I mean, it's so typically true.
And this was typically true.
This is what happened.
And they didn't see the vision that commercially we could have become
incredibly great, because they already had the name.
[G] And everyone accepted me as a singer, because I was already accepted
internationally as Rainbow Singer.
And it wasn't that much of a stretch.
Matt Morton Glover.
I mean, there were three people out of Rainbow in purple.
So maybe it was Deep Rainbow.
I don't know.
But it still kept the signature purple sound.
We made it riff-oriented, and we still came through with commercial songs.
So we did what we were supposed to do, you know,
in a business sense of the word.
But emotions run deep.
Sure they do.
As the cut runs.
and Richie was not happy [F] with anything and he didn't feel this guy could cut it.
He was a friend of mine, I know the guy, shall remain nameless.
And they called me at the last minute, the 11th hour, it's always the 11th hour with
these guys, and they said, you want to fancy coming up to Vermont in the winter?
Right?
And I said, bring your ski gear or whatever.
Ski gear?
You know, I have rentals.
I know.
To make a long story short.
Anyway, I drive up to Vermont and they were in a country club that was no longer being
used because it was winter and it's a summer club, so they rent out, they always did odd
things like this, Deep Purple, you know, in Montreux and so on and so forth, in the chalet and whatnot.
And it's always great because you're always in some weird exotic place.
And I come walking in and it smelled of cigarettes and beer.
I'll never forget that.
And Richie started playing Hey Joe.
He saw me come in.
He just started playing Hey Joe by Hendrix.
And I just picked up the mic and I sang.
And everybody played.
And we did this huge jam, you know, everybody soloing and just playing and just, you know,
improvising.
And then finally when it all kind of died down, everybody was like, yeah.
And they said, could you write lyrics?
And Richie went, get your bag out.
And I had the bag, of course.
And what later turned into The Cut Runs Deep, which we recorded at your studio, it was already
kind of written, you know, what about the heartache?
What about the, you know, all this?
And John had the riff, you know, the piano riff.
And they just went, that's the guy.
So unfortunately, my friend never made it, but I did.
And it was a blessing and a curse, of course, because, you know, there was some super huge
egos in that band.
You know, it was the Richie and Joe show, and we were going to steal the band again,
make it the Deep Rainbow, all these ridiculous things.
I think [Fm] Slaves and Masters, which you have credit to, is probably the last great purple
album there was.
I love it.
Got it.
It's one of Richie's favorite albums as well.
It's a great album.
Stands up to this day.
It's one of the best recorded, best written.
I mean, that's a great album, pound for pound, song by song.
Yeah, it is.
I could name every title and just go, whoo, you know, who can beat that?
You know, it's right up there with the best of them.
And we never really got enough notoriety from it because the emotional reaction from the
fans, not [F] the fans per se, but the Deep Purple fan club, they just lost their minds.
They couldn't deal without Gillen.
And Richie can't stand Gillen.
And I had no problem with Ian.
Ian's great, as far as I'm concerned.
Never did anything to me.
He always gives me a beer and a hug, so I'm happy with it.
But I think that that was a different audience, you know, coming from America, basically.
You know, the U.S. is a complete different mindset than being this traditional English
band, Deep Purple, with its roots, you know, in the stuffiness of England.
And believe me, it has a lot to do with it culturally.
I learned that.
It has a lot to do with it.
And that's who really kind of reacted because everywhere else in the world, this was one
of their favorite albums, Slaves and Masters.
When we toured it, everybody loved it.
They loved the lineup.
They loved the new look.
Because, you know, I made everybody dress better, you know, and look better.
And Richie was on them, too.
You know, it was more like we really started.
What we wanted to do was the model that Aerosmith had created with Desmond Child.
And as you know, we brought Jim Peterick in, who with Jimmy Jameson in Survivor.
So he was a great writer and we were writing these great songs for the second album.
And they didn't want to hear it.
And the band didn't want to hear it because Richie and I were okay with it.
Roger was in the middle and there was John and Nina that were absolutely against it.
And they were really, I have to say, jealous.
They were absolutely jealous of it.
And I don't care what you say, guys, you were.
You were threatened.
And I understand that.
They felt it was slipping away from them.
And that focus was being shifted.
And it was.
Because of more commercial purposes.
That's exactly what we were supposed to be doing.
Become more commercial.
In other words, why can Aerosmith come from the grave and grab Desmond Child and
all of a sudden come out with Rag Doll and all these songs?
And that was the era.
And Def Leppard did it, too, with Mud Lang.
And everybody was doing it.
And we were doing it.
We wanted to do it.
What I learned is you're not just, you're, if there's dissent within the band,
it's not gonna last.
You know?
I mean, it's the old story of, you know, the rock star egos and
all this that break up the bands.
I mean, it's so typically true.
And this was typically true.
This is what happened.
And they didn't see the vision that commercially we could have become
incredibly great, because they already had the name.
[G] And everyone accepted me as a singer, because I was already accepted
internationally as Rainbow Singer.
And it wasn't that much of a stretch.
Matt Morton Glover.
I mean, there were three people out of Rainbow in purple.
So maybe it was Deep Rainbow.
I don't know.
But it still kept the signature purple sound.
We made it riff-oriented, and we still came through with commercial songs.
So we did what we were supposed to do, you know,
in a business sense of the word.
But emotions run deep.
Sure they do.
As the cut runs.
Key:
F
E
Fm
G
F
E
Fm
G
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [E] Well, this was another one of those things that they had apparently a singer already
and Richie was not happy [F] with anything and he didn't feel this guy could cut it.
He was a friend of mine, I know the guy, shall remain nameless.
_ _ _ And they called me at the last minute, the 11th hour, it's always the 11th hour with
these guys, and they said, you want to fancy coming up to Vermont in the winter?
Right?
And I said, bring your ski gear or whatever.
Ski gear?
_ _ _ You know, I have rentals.
I know.
To make a long story short.
Anyway, I drive up to Vermont and they were in a _ _ country club that was no longer being
used because it was winter and it's a summer club, so they rent out, they always did odd
things like this, Deep Purple, you know, in Montreux and so on and so forth, in the chalet and whatnot.
And it's always great because you're always in some weird exotic place.
And I come walking in and it smelled of cigarettes and beer.
I'll never forget that.
And _ Richie started playing Hey Joe.
He saw me come in.
He just started playing Hey Joe by Hendrix.
And I just picked up the mic and I sang.
And everybody played.
And we did this huge jam, you know, everybody soloing and just playing and just, you know,
improvising.
And then finally when it all kind of died down, everybody was like, yeah.
And they said, could you write lyrics?
And Richie went, get your bag out.
And I had the bag, of course.
And what later turned into The Cut Runs Deep, which we recorded at your studio, _ it was already
kind of written, you know, what about the heartache?
What about the, you know, all this?
_ And John had the riff, you know, the piano riff.
And they just went, that's the guy.
_ So unfortunately, my friend never made it, but I did.
And it was a blessing and a curse, of course, because, you know, there was some super huge
egos in that band.
You know, it was the Richie and Joe show, and we were going to steal the band again,
make it the Deep Rainbow, all these ridiculous things.
I think [Fm] Slaves and Masters, which you have credit to, is probably the last great purple
album there was.
I love it.
Got it.
It's one of Richie's favorite albums as well.
It's a great album.
_ Stands up to this day.
It's one of the best recorded, best written.
I mean, that's a great album, pound for pound, song by song.
Yeah, it is.
I could name every title and just go, whoo, _ you know, who can beat that?
You know, it's right up there with the best of them.
And we never really got enough notoriety from it because the emotional reaction from the
fans, not [F] the fans per se, but the Deep Purple _ fan club, they just lost their minds.
They couldn't deal without Gillen.
And Richie can't stand Gillen.
And I had no problem with Ian.
Ian's great, as far as I'm concerned.
Never did anything to me.
He always gives me a beer and a hug, so I'm happy with it.
_ But I think that that was a different audience, you know, coming from America, basically.
You know, the U.S. is a complete different mindset than being this traditional English
band, Deep Purple, with its roots, you know, in _ the stuffiness of England.
And believe me, it has a lot to do with it culturally.
I learned that.
It has a lot to do with it.
And that's who really kind of reacted because everywhere else in the world, this was one
of their favorite albums, Slaves and Masters.
When we toured it, everybody loved it.
They loved the lineup.
They loved the new look.
Because, you know, I made everybody dress better, you know, and look better.
And Richie was on them, too.
You know, it was more like we really started.
What we wanted to do was the model that Aerosmith had created with Desmond Child.
And as you know, we brought Jim Peterick in, who with Jimmy Jameson in Survivor.
So he was a great writer and we were writing these great songs for the second album.
And they didn't want to hear it. _
And the band didn't want to hear it because Richie and I were okay with it.
Roger was in the middle and there was John and Nina that were absolutely against it.
And they were really, I have to say, jealous.
They were absolutely jealous of it.
And I don't care what you say, guys, you were.
You were threatened.
And I understand that.
They felt it was slipping away from them.
And that focus was being shifted.
And it was.
_ Because of more commercial purposes.
That's exactly what we were supposed to be doing.
Become more commercial.
In other words, why can Aerosmith come from the grave and grab Desmond Child and
all of a sudden come out with Rag Doll and all these songs?
And that was the era.
And Def Leppard did it, too, with Mud Lang.
And everybody was doing it.
And we were doing it.
We wanted to do it.
What I learned is you're not just, you're, _ _ _ if there's _ dissent within the band,
it's not gonna last.
You know?
I mean, it's the old story of, you know, the rock star egos and
all this that break up the bands.
I mean, it's so typically true.
And this was typically true.
This is what happened.
And they didn't see the vision that commercially we could have become _
_ incredibly great, because they already had the name. _
_ [G] And everyone accepted me as a singer, because I was already accepted
internationally as Rainbow Singer.
And it wasn't that much of a stretch. _
Matt Morton Glover.
I mean, there were three people out of Rainbow in purple.
So maybe it was Deep Rainbow.
I don't know.
But it still kept the signature _ purple sound.
We made it riff-oriented, and we still came through with commercial songs.
So we did what we were supposed to do, you know,
in a business sense of the word.
But emotions run deep.
Sure they do.
As the cut runs.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [E] Well, this was another one of those things that they had apparently a singer already
and Richie was not happy [F] with anything and he didn't feel this guy could cut it.
He was a friend of mine, I know the guy, shall remain nameless.
_ _ _ And they called me at the last minute, the 11th hour, it's always the 11th hour with
these guys, and they said, you want to fancy coming up to Vermont in the winter?
Right?
And I said, bring your ski gear or whatever.
Ski gear?
_ _ _ You know, I have rentals.
I know.
To make a long story short.
Anyway, I drive up to Vermont and they were in a _ _ country club that was no longer being
used because it was winter and it's a summer club, so they rent out, they always did odd
things like this, Deep Purple, you know, in Montreux and so on and so forth, in the chalet and whatnot.
And it's always great because you're always in some weird exotic place.
And I come walking in and it smelled of cigarettes and beer.
I'll never forget that.
And _ Richie started playing Hey Joe.
He saw me come in.
He just started playing Hey Joe by Hendrix.
And I just picked up the mic and I sang.
And everybody played.
And we did this huge jam, you know, everybody soloing and just playing and just, you know,
improvising.
And then finally when it all kind of died down, everybody was like, yeah.
And they said, could you write lyrics?
And Richie went, get your bag out.
And I had the bag, of course.
And what later turned into The Cut Runs Deep, which we recorded at your studio, _ it was already
kind of written, you know, what about the heartache?
What about the, you know, all this?
_ And John had the riff, you know, the piano riff.
And they just went, that's the guy.
_ So unfortunately, my friend never made it, but I did.
And it was a blessing and a curse, of course, because, you know, there was some super huge
egos in that band.
You know, it was the Richie and Joe show, and we were going to steal the band again,
make it the Deep Rainbow, all these ridiculous things.
I think [Fm] Slaves and Masters, which you have credit to, is probably the last great purple
album there was.
I love it.
Got it.
It's one of Richie's favorite albums as well.
It's a great album.
_ Stands up to this day.
It's one of the best recorded, best written.
I mean, that's a great album, pound for pound, song by song.
Yeah, it is.
I could name every title and just go, whoo, _ you know, who can beat that?
You know, it's right up there with the best of them.
And we never really got enough notoriety from it because the emotional reaction from the
fans, not [F] the fans per se, but the Deep Purple _ fan club, they just lost their minds.
They couldn't deal without Gillen.
And Richie can't stand Gillen.
And I had no problem with Ian.
Ian's great, as far as I'm concerned.
Never did anything to me.
He always gives me a beer and a hug, so I'm happy with it.
_ But I think that that was a different audience, you know, coming from America, basically.
You know, the U.S. is a complete different mindset than being this traditional English
band, Deep Purple, with its roots, you know, in _ the stuffiness of England.
And believe me, it has a lot to do with it culturally.
I learned that.
It has a lot to do with it.
And that's who really kind of reacted because everywhere else in the world, this was one
of their favorite albums, Slaves and Masters.
When we toured it, everybody loved it.
They loved the lineup.
They loved the new look.
Because, you know, I made everybody dress better, you know, and look better.
And Richie was on them, too.
You know, it was more like we really started.
What we wanted to do was the model that Aerosmith had created with Desmond Child.
And as you know, we brought Jim Peterick in, who with Jimmy Jameson in Survivor.
So he was a great writer and we were writing these great songs for the second album.
And they didn't want to hear it. _
And the band didn't want to hear it because Richie and I were okay with it.
Roger was in the middle and there was John and Nina that were absolutely against it.
And they were really, I have to say, jealous.
They were absolutely jealous of it.
And I don't care what you say, guys, you were.
You were threatened.
And I understand that.
They felt it was slipping away from them.
And that focus was being shifted.
And it was.
_ Because of more commercial purposes.
That's exactly what we were supposed to be doing.
Become more commercial.
In other words, why can Aerosmith come from the grave and grab Desmond Child and
all of a sudden come out with Rag Doll and all these songs?
And that was the era.
And Def Leppard did it, too, with Mud Lang.
And everybody was doing it.
And we were doing it.
We wanted to do it.
What I learned is you're not just, you're, _ _ _ if there's _ dissent within the band,
it's not gonna last.
You know?
I mean, it's the old story of, you know, the rock star egos and
all this that break up the bands.
I mean, it's so typically true.
And this was typically true.
This is what happened.
And they didn't see the vision that commercially we could have become _
_ incredibly great, because they already had the name. _
_ [G] And everyone accepted me as a singer, because I was already accepted
internationally as Rainbow Singer.
And it wasn't that much of a stretch. _
Matt Morton Glover.
I mean, there were three people out of Rainbow in purple.
So maybe it was Deep Rainbow.
I don't know.
But it still kept the signature _ purple sound.
We made it riff-oriented, and we still came through with commercial songs.
So we did what we were supposed to do, you know,
in a business sense of the word.
But emotions run deep.
Sure they do.
As the cut runs.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _