Manny Charlton:
Nazareth albums" We brought Roger Glover from Deep Purple and he was fucking great. I am still full of admiration for him. If it hadn’t been for him, I don’t think that I would have made it. Roger helped with our arrangements and he got it to sound like Nazareth. He got it to sound like the four of us. There was no trickery or session musicians. We did it in these run down little rooms in Scotland. Roger asked us where we were most happy playing. We told him we liked our little rehearsal room in Scotland. We told him that we really liked the sound we got in that little rehearsal room. Roger goes, “Well then, tomorrow we are going to bring the studio to the rehearsal room.” He brought a mobile all the way up to Scotland and he produced Razamamaz with us. It is a great rock n roll record and I am proud of it to this day."

[Interview with Manny Charlton from Classic Rock Revisited, dec 3, 2003]

 
   
 


Roger Glover:
"I met Ritchie in Chicago and he was, as he has been most of the time, very kind to me. Ritchie asked me to produce Rainbow's next record and I agreed. Ritchie probably realized that he had made a mistake by forcing me out of Deep Purple".

"Ritchie and Dio didn't talk to each other at all those days. They only talked to each other through me. Sometimes I was telling Ritchie that Dio won't do this and that and then I went to inform Dio, how Ritchie doesn't like this and that idea of yours. It was hopeless and when it has lasted a while Dio finally left the band. After Dio had left the band Ritchie asked me to write some lyrics for Rainbow and when their current bass-player, who was a failure - I had to teach him all the time - left, drummer Cozy Powell asked me to join the band. My first Rainbow record was "Down To Earth" and I was with them for five years."

[RG interview from Rumba, no 12, 1993]
   

Francis Rossi:
• "But it was the first time we've walked in with the preconvinced idea of
recording a single with a single mix"

• "I suppose we were going for airplay, not specifically for the States but
it's right for that too. Nice clean bass and snare, very mid-tempo and it
chugs along beautifully with none of our usual peaks"

Different covers of the single• "I've even hammered hell out of my own copy and I usually never listen to
singles again. I love it"
[Taken from the book Status Quo by Tom Hibbert 1982]

• Quo release a long awaited new single on December 3 entitled Wild Side Of
Life produced by ex Purple man, Roger Glover.
Said Glover, who met Quo after working with fifth member Bob Young "I did it because it was a challenge and I really hope we will be able to work together in the near future"
[From an article in National Rock Star 1976-11-27]
 
  Francis Rossi:
• "We recorded Wild Side Of Life at a studio in Stanhope Place and they brought in a producer, Roger Glover, the Deep Purple bass player. He recorded Rick and I first, then a really basic drum pattern, then the crashes and cymbals and all sorts of stuff. We went to Australia with it thinking it was going to be blinding, but someone in the record company didn't think it was quick enough, so Roger Glover dubbed in the bass part while we were away, wich I always thought was a mistake. So when we got back to England, it was a slightly different single than we had made, and that's the only time that ever happened to us. It was a hit, though so who cared?"

Rick Parfitt:
• "It was a great record, that"
[Taken from Just for the record the autobiography of Status Quo 1993]  
   


For Judas Priest's first record with CBS, 1977's 'Sin After Sin' , the major label wanted a talented and trust-worthy producer, so they brought in ex-Deep Purple bassist Roger Glover. But the sessions got off to a bad start as the band, having poor results in the past from producers who didn't understand the sound they wanted, felt they could take matters into their own hands. They had some experience in the studio from their previous two albums for Gull Records, but they soon discovered that production was a much harder task than they were prepared for:

Roger Glover:
• "I kinda became aware that any suggestion I came up with kinda was falling on deaf ears. I'd say, 'How about doing that um riff twice' and they'd go, (looks around room) 'hmm'. 'Ok, well, um, let's move on to the next one'. So at the end of the afternoon, I was sorta getting the cold shoulder, so I kinda figured they really don't want a producer. And about a couple of weeks later I got this phone call saying, 'Will you come down and help us out? We've been in the studio for a couple of weeks and it's not going very well'. Um, and I guess they'd fired the drummer, so we did the album in 6 days with Simon Philips, a session drummer at the time. And the strange part is, the album went on to become sort of a fair-sized hit... never got paid".

Rob Halford:
• "...[CBS] said, 'Well, OK. You're moving into a different league now. We want you with a producer of some esteem who we think is going to do a good job for the band'. And so on that basis we were happy to work with Roger and again, I just have great memories of being in the studio with him and him having a major, major input..."

While the recording session was fairly routine from then on out, Roger does recall a surprising moment:
• "But I do remember one occasion in Ramport Studios where K.K. was going to take a solo. And I'd never experienced this before. He went into the studio, put his guitar on, turned all the stuff up and got the sound, and said, 'OK, let's roll the tape and see what happens'. The tape started rolling and he immediately started going into all his stage movements - sorta 'throwing shapes' as they call it. 'Why is he doing that? We're in the studio'... And I said to him, 'Why are you doing that? Why don't you just concentrate on your playing?' And he said, 'Well that's part of the playing'. He said, 'The way I feel is the way I move and it influences the music'.

K.K. Downing:
• "That was just purely the energy. You know, whenever I'm plugged in, I was 'plugged in'! It's that simple".
[All excerpts taken from the Metal Works 73-93 video tape, 1993]

  
   




Roger Glover:
• "I've no idea why I was asked to produce a Rory album. Partly, I believe it was that he shared management with Status Quo and since I'd just done a project with them, the management must have thought that I was either good enough, cheap enough, or available. I never got paid either way, incidently, although no fault of Rory's. Rory was a super guy - polite, considerate, humble. Then he had a drink or two and he overcame all these obstacles. We were a long time getting things going in the studio, but when it did, Rory shone.

I particularly remember "Barley and Grape Rag", done acoustically at first, with all the band around him and set up in the dining room of the studio, for intimacy. A liquid evening as I recall. The one infuriating trait he had was that he could never make up his mind about anything, especially when it came to deciding which take was the best. I'd make my mind up and he'd go along with that for a minute or two, then have second thoughts so we'd record another one, then listen to all of them again, and the process would go on until, usually, we'd go back to the first one. This might take a whole evening.

He had a lot of respect from his band members though, they were dedicated to him. Gerry McAvoy - seemed like Rory's right hand man, stalwart, firm, ready smile, decisive, solid bass player, a great laugh. Lou Martin - lovely chap, shy, slightly awkward, quiet, adored Rory, rippled those keys in a very bluesy tradition. Rod De'Ath - very nice chap, thin, wiry, determined, not the greatest drummer in the world but gave it all he had. They all seemed very dedicated to Rory, there was an allegiance there, born of years of smoky clubs and endless journeys. I always felt welcome, but I was always an outsider.

I think the most successful, i.e. the best sounding, track on the album is "Calling Card", although I have a soft spot for another track, "I'll Admit You're Gone". It was a pleasant album to do, but not without its frustrations, as most albums. However, we remained friends after it and I was proud to have worked with him. One image I have from those sessions; late one evening, Rory, on microphone in the studio, doing an impression of a preacher sermonizing and extolling his audience to repent their sins and come to the Lord. This went on well into the night, aided and abetted by drink and laughter. That's what made him a great stage performer, his ability to entertain, whatever the occasion.
I have many memories of those sessions, but that one stands out".
[Reproduced fron the Rory Gallagher homepage ]