Former Deep Purple bassist Glenn Hughes has no interest in reuniting with his old bandmates on account of what he felt to be disrespectful behavior at their Rock & Roll Hall of Fame induction in 2016.
In a recent interview with Guitar Interactive, Hughes directed his attention toward Ian Gillan, Roger Glover and Ian Paice, the three longest-standing members of the band.
Hughes and singer David Coverdale joined Deep Purple and replaced Gillan and Glover, respectively, from 1973 to 1976, though they were also included in the 2016 induction.
“I will never speak to any of them again, simply because they were rude,” Hughes said of Gillan, Glover and Paice. “Both Roger, Ian and Gillan were rude to David [Coverdale] and I. Very, very hurtful. I didn’t give a fuck, actually, because I knew they were rude to begin with.
“I was the only sober man there. I don’t care about those guys. Gillan was rude to me on stage, accepting the award. I went to congratulate him. He looked at me in the eyes like I didn’t exist.
According to Hughes, the absence of connection between himself and Gillan is not for a lack of trying.
The result of a somewhat mandated reconciliation with Ian Gillan after the poorly received “Deep Rainbow” experiment of ‘Slaves and Masters,’ ‘The Battle Rages On…’ holds the distinction of being Deep Purple’s unhappiest album.
‘ But the almost-universal groans that met this alliance were enough to drown out the solid, if unspectacular and suspiciously AOR-driven songs conjured up for this much-maligned LP. How could it possibly last?
This musical summit between rock band and symphony orchestra is clearly the wild card in Deep Purple’s career discography, but that does nothing to diminish its fascinating accomplishments.
‘Rapture of the Deep’ lacked bowl-you-over songwriting depth, but after the perplexing, embarrassing ‘Bananas,’ it proved that Deep Purple was still a band that took themselves seriously.
Its hard to see the overnight success of Deep Purple’s first LP, ‘Shades of…’ as anything but a fluke, just like its undeniably catchy but hardly life-changing smash hit cover of Joe South’s ‘Hush.’
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