With no desire to carry on, the band split in 1976 after the ill-received addition of Tommy Bolin on lead guitar. David Coverdale was eager to start a solo career where he could sing, and not “scream his balls off”. Everybody else was just plain tired of it all. Dutifully, the record company trotted out live albums and compilations, to keep the cash flowing. Made in Europe, intended as a followup to Made in Japan, came first. It was followed by Power House, When We Rock We Rock, Deepest Purple, Last Concert in Japan, Live in London, and many more. The goal was not to provide fans with good quality unreleased music for them to enjoy. The purpose was to make more money.
Made in Europe has since been superseded by better releases. MkIII: The Final Concerts expanded and remixed this material, sourced from their last shows with Ritchie Blackmore. He had already made the decision to quit, unbeknownst to his bandmates. More recently, the Official Deep Purple (Overseas) Live Series released full shows of two concerts, Graz and Paris. It is always preferable to have the full show, rather than a song here or there sloppy edited and mixed into a live album. Don’t you agree?
With only five songs, Made in Europe was hardly representative of Purple’s set at the time, but it seems a single LP was all that EMI were willing to invest in. Producer Martin Birch was unable to get the same heavy, crisp sound that he got on Made in Japan. This one is heavy, but that crisp sound is muffled under a blanket.
“Burn” is an apt opener, and both David and Glenn Hughes were in fine form that night. Blackmore, Paice and Lord always are. Yet Deep Purple sound almost…bored? Playing by rote? Blackmore’s guitar is also too buried in the mix. The first of two jams is up next: “Mistreated (Interpolating ‘Rock Me Baby’)”. While no one questions that this is one of the greatest songs in the Deep Purple MkIII catalogue, the live jam has always dragged. Ritchie’s playing is still a delight, but they could have trimmed two or three minutes from the song. That’s followed by a frantic “Lady Double Dealer”, never one of Purple’s finest. Birch applies an irritating echo to the chorus, but that’s all for the first side.
The second side is dominated by 16 minutes of “You Fool No One”, the second jam. Jon Lord takes center stage for the organ solo intro, but if you dig cowbell, this song is for you! Could Ian Paice be the #1 cowbell player on the planet? “You Fool No One” testifies to that. He is absolutely the MVP on this track (for his drumming, too)! Finally, the full gale force of “Stormbringer” brings the proceedings to an end, easily the best track on the disc.
What, no “Smoke on the Water”? No “Highway Star”? It appears EMI wanted to avoid song overlap with Made in Japan, so you get MkIII material and only MkIII material! That the drawback to a set such as this which is really only about half of a proper Deep Purple concert.
How many live albums are there from the Machine Head tour in ’72? I lost count, and I don’t really care. I’ll buy ’em all! Copenhagen 1972 represents Purple at their best, in their prime, playing their best songs. The difference is (there always is a difference) is that this is a particularly pummelling Purple potluck. As awesome as they were in ’72, it’s rare to hear them play as ferociously as you will here! This set was previously released by Sonic Zoom as Live in Denmark ’72 in 2002, but technology is constantly improving and it has been given a subtle sonic upgrade. With restored master tapes, the 2013 release is the definitive one, not to mention it has four bonus tracks over the previous Live in Denmark ’72. These Sonic Zoom discs seem to be re-released periodically, but these versions from the Deep Purple (Overseas) Live Series are in all cases the ones to own.
“We got the telly here tonight, so we got to be good.” That explains how this show was recorded so well. The clown prince Ian Gillan is a dry unorthodox frontman when it comes to banter, and that’s why we love him so. “Highway Star” herein is one of the best versions of the song you will ever find. The non-album single “Strange Kind of Woman” follows, extended with Blackmore and Gillan’s interplay. Behind them, a constant presence, is the growl of Jon Lord’s Hammond. What a beast! Lord always tended to improvise on his intro to “Child In Time”, lending it different flavours every time it was played. The Copenhagen ’72 version has its own personality. There is a delightful quieter middle section where Jon gets to have some jazzy fun. Drummer Ian Paice gets his moment on “The Mule”, one of Purple’s most progressive rock moments from 1971’s Fireball. Paice, being outstanding through the whole concert, dominates this one into submission. It is remarkable how well recorded these drums are. Glover’s bass too, which has a shining spot in the mix. “Lazy” smokes just as hot, but it is “Space Truckin'” that has the honour of being stretched out for over 20 minutes. With the many live versions of “Space Truckin'” out there, I wonder how many sheer hours of this song that I own? This one is unique in its own right.
The show continues on CD 2, with “a little bit of fun” called “Fireball”. With an extended intro I haven’t heard anywhere else before, this version of “Fireball” kills it. It’s immediately followed by “Lucille” which was a periodic Deep Purple encore back then. Simply incendiary, over the top, and blazing fast. The last song of the show is the old single “Black Night”: that’s right, no “Smoke on the Water”! I guess they just didn’t play it that night. Machine Head wouldn’t be out for another three weeks.
CD 2 has four bonus tracks on top of this. The aforementioned “Smoke” along with more versions of “Strange Kind of Woman” and “Space Truckin'” are included, from New York in ’73. This version of “Strange Kind of Woman” is unusually funky; more like the Deep Purple Mk III that would emerge in 1974. “Smoke” is still fresh, but “Space Truckin'” surprises by being only half the length of the version on CD 1. It’s interesting to hear how the songs evolve from year to year.
The final bonus track is a brief 1971 interview done in Australia. There is not much here; it’s just an add-on. It’s fun to hear them talking about the forthcoming new album, Machine Head.
DEEP PURPLE – Live in Stockholm 1970 (2014 Edel, 2 CD 1 DVD set)
This is the second time I’ve bought this live album. Hopefully, this edition from the Official Deep Purple (Overseas) Live Series, with its bonus tracks and DVD represents the last time I need to shell out. The first was a cheap looking 2 CD set called Live and Rare (1992). There was also a more official version called Scandinavian Nights. They’re all pretty much the same, a set of early long long bombers by Deep Purple recorded for radio in 1970. This remixed (from the master tapes) edition has the set list restored to the correct order, and two bonus tracks from Paris the same year. It also has a Jon Lord interview and a DVD for a TV special called Doing Their Thing.
The TV broadcast weirdly begins right in the middle of “Speed King”. Full colour and in stereo, this is some fantastic footage. It’s shot and edited for excitement. Ritchie Blackmore assaults his weapon, but with precision. For a guy who is so technically capable, it’s amazing how physical and visual he gets. “Child in Time” gives Ian Gillan a chance to both sing and scream. Strangely there are two small bored looking boys in the audience, right by Roger Glover, and they couldn’t look any less thrilled to be at this taping. Who are they? Why are they there? Who knows! This is the full unedited “Child in Time” complete with solos.
You get ample closeups on Jon, Ritchie and Roger and it’s amazing to see them play so fast, so perfectly. You can study Jon’s hands and try to figure out what he’s doing. Ian Paice is in the back, tiny frame creating a huge sound. The instrumental “Wring that Neck” is soloriffic, and Blackmore is surprisingly friendly with the cameras. This is very rare for the man in black. The audience politely clap at his playful solo, and he keeps them guessing to the end. A rare delight, to see him in such a good mood on stage. The final track on the DVD is “Mandrake Root”, another song that was really only in the set for them to jam to. They are in sync, and being able to watch Deep Purple at their peak jamming in this clarity, well that’s really something. Too bad most of the songs are edited down.
As for the 2 CD set, it has always been a bit of a slog to get to the end. There are two tracks at 30 minutes a piece. There is one at 18. There are three in the 10-12 minute range. Of all the Deep Purple live albums out there, Stockholm is probably the one that requires the most patience. This is, however, my first time hearing it freshly mixed and restored for today.
Set commencing with “Speed King” again, this time it’s the full-on 12 minute jam. Barely hanging together, Purple blast it out with extra heavy energy. Gillan sounds as if he’s about to burst a blood vessel in his neck. The audio has more depth than previously releases, but Ian’s voice sounds a bit too low in the mix. “Do you know what a Speed King is? A Speed King is somebody who sing at a hundred miles an hour,” sings Ian, not really enlightening us. “Everybody’s a Speed King when you wanna be,” he adds, confusing things more. Things quiet down, turn jazzy, and then explode once more. Not the greatest version of “Speed King” ever recorded, but definitely one of the most frantic.
“Into the Fire” is a rare shot of brevity. Assailing the skull nonetheless, after “Into the Fire” the band take it back a bit with “Child in Time”. This full-on 18 minute version is far longer than the better known one from Made in Japan. The cool thing about Purple is that no two versions of any song are exactly the same, and if you’ve heard “Child in Time” before…you still haven’t heard the 18 minute version from Stockholm. With all due respect to the Japan version, this one has its own diamonds of brilliance. How the hell do they keep playing with that rapidity?
Better pee now, because a jazzy “Wring that Neck” is next, over 30 minutes. Loaded with playing that’ll stop your heart, but not as interesting as the definitive version on Concerto for Group and Orchestra. This contains a showcase for Jon Lord’s keyboard solos. Ritchie’s playing is always sublime, and so is Jon’s, but…30 minutes…that’s a lot of jamming. Like too much crème brûlée. Ritchie again plays with the audience, teasing out melodies from songs such as “Jingle Bells” and “I’m Looking Over a Four Leaf Clover”. If that wasn’t enough, Deep Purple’s 10 minute cover of the Stones’ “Paint it, Black” is really just an excuse for a long drum solo by Ian Paice! Gillan took off, making the song an instrumental, which they only stick to for a minute before letting Paice go nuts.
Flip over to CD 2, and get ready for another 30 minute long bomber. “A thing you can jump around to,” says Ian. It’s “Mandrake Root” and it’s bouncy. This is a well-known version of the song, and it even appears on Deep Purple comprehensive box set Listen, Learn, Read On in its complete length. You can clearly hear Gillan on the congas during the long instrumental break. You can also hear them quoting the Kinks’ “You Really Got Me Now”. This jam generates more interest than “Wring that Neck”, but it’s still a chore to finish. And you get to hear “Mandrake Root” and “Wring that Neck” three times each in this package.
The final song (of a mere seven!) for Stockholm is a reasonably brief one: “Black Night”. After so much jammin’ it’s nice to have a single, with a set structure, and more than just occasional lead vocals! It raises the energy a bit after a very draining concert set. But you’d better refuel with some coffee, because you’re not finished yet.
The two bonus tracks from Paris sound as if they were recorded in a smaller venue. They are sonically superior to the Stockholm recordings, but damn, I am all jammed out! Thankfully, this version of “Wring that Neck” is delightful and unique. It’s hotter and way, way jazzier. Blackmore also teases out a bit of a preview of a forthcoming song. You can hear a teeny bit of the guitar melody to 1971’s “The Mule” in his solo. He even plays a bit of “God Saves the Queen”, in Paris! Then on to “Mandrake Root” again, 14 minutes this time, half the length of the last one. Jon’s solo is incredible, but aren’t they all? This one has some nice rhythmic choppy bits that are so fun to air-keyboard along to. The track eventually descends into chaos and noise, as all good Deep Purple jams do.
Finally we have the 1971 Jon Lord interview. This 11 minute track discusses how Jon joined the band, the early days, the Concerto, and In Rock. The title is misleading however, since the track also contains a few bits with Ian Gillan. Fun stuff but ultimately nothing here that the fan doesn’t already know.
3/5 stars, simply because I know from experience that this set won’t get much repeat play in your home.
3.5/5 stars when you take the bonus DVD into consideration.
This CD is over 70 minutes long. It has four tracks. The shortest one is 11:05. The longest is 27:18. We just needed to be upfront with you, about what you are about to read, in case you felt like turning back now. This would be the time to do so.
Still with us? Great!
This live album was recorded during a period in Deep Purple where their setlist was in a state of flux. Their first heavy rock album and first serious bonafide smash hit, Deep Purple In Rock, was still dominating the set. The mid-term single, “Strange King of Woman”, had been included on the new album Fireball in the US, but it’s the only new song here. Even though the show was well recorded for radio, this set has never been released before officially.
A energetically ragged “Speed King” opens affairs. “A Speed King is somebody who moves very quickly from one place to another, and always gets there first,” says Ian Gillan during the long middle solo section. When it’s Blackmore’s turn to play, he’s smooth with just enough rough edges. Everybody shines; live in 1971, Deep Purple were a well-oiled machine running on the fuel of pure creativity. Ian and the others liked to have a drink now and then, but they were never a drug band until other members joined and brought their troubles with them. When a band as talented and unfettered and uninhibited by chemicals hit the stage, this is what can happen. “Speed King” is a mind-breakingly enjoyable version, both in spite of and because of its length!
The new single goes down a storm, and Blackmore’s solo is inspired. Then “Child in Time”, the old standby since late ’69, begins delicately with Ian in prime voice. Deep Purple at full power doing “Child in Time” complete with screams? Jazzy shuffle right in the middle? Always nice to have. The last half-hour of the set is dedicated to “Mandrake Root”, an unremarkable song from the first LP that operated in concert as the forum for their “big” jam, the one that descends into madness and chaos by the end. Brilliant stuff, but a bit much for those who just wanna rock.
If four songs loaded with solos are not your cup of java, that’s fine. There are plenty more Deep Purple live albums to be had. In the 80’s, the soloing was de-emphasized in favour of playing more songs. Those albums, featuring the exact same lineup, may be more your speed if this doesn’t sound like your kinda deal.
WILLIAM SHATNER – Seeking Major Tom(2011 Cleopatra)
Why? Why do I keep doing this to myself? I spend hard-earned money on something I knew would be shit. I knew it! Didn’t I?
The hype was palpable in the air. Two of my favourite worlds collided — heavy metal and Star Trek. Captain James T. fucking Kirk, doing sci-fi rock classics, with luminaries of the art such as Ritchie fucking Blackmore, Zakk fucking Wylde, Dave fucking Davies and many, many more. It’s almost as if it was a compulsory purchase.
I…wished I had…resisted. (notice the Shatner-like pauses?)
You know how many times I have listened to Seeking Major Tom? Once.
Let’s go in for round two. Let’s see what happens.
Did I mention this is a double album? This is a double album. The original versions of a lot of these songs are deeply ingrained in our hearts and memories. “Bohemian Rhapsody”, “Learning to Fly”, “Iron Man”. I have a lot of feelings invested into these songs, and deep respect for every musician playing on the album. There is even a mini Ozzy Osbourne band reunion on Iron Man, as Zakk Wylde and Mike Inez reteam once again.
Shatner first teams up with Nick Lalensi of the Strokes for “Major Tom (Coming Home)”, and musically it’s perfect, and very Strokes-like…Bill’s vocals take some getting used to. Not bad though! He’s not attempting to sing, it’s a spoken word performance. It’s performing the lyrics as if it was poetry. For “Major Tom”, it actually works kinda brilliantly. The original “Space Oddity” is next, and this one features one Ritchie Blackmore and his lovely wife, Candice Night. Candice adds melody enough with her backing vocals, and Bill makes his style work on the song. Blackmore is the real star here, and it is too bad his electric guitar is low in the mix. He takes a solo where there would normally be saxophone.
I’m actually surprised by how listenable this is! Bill manages to evoke emotion with his monotone, which is remarkable to me.
I’m not familiar with the U2 song “In a Little While” at all. The space connection here is that astronaut Frank De Winne once read the lyrics live from the International Space Station, beaming his vocals to a U2 concert, recorded for the DVD U2360° at the Rose Bowl. Bill is joined by an unlikely guest, Lyle Lovett, but once again I am surprised by how well this works. Lyle’s still got it, I’ll tell you that much! This segues into a reprise of “Space Oddity”, and then the Steve Miller favourite “Space Cowboy”. Brad Paisley and Steve Miller himself (he still plays brilliantly) join Bill on this one, which…well, it crashes and burns in the atmosphere. Bill takes on the persona of a drunken cowboy (?) and it’s just a bit too weird.
“Space Oddity” returns once again, but this time, we’re going “Space Trucking” with Ian Paice and Johnny Winter…acoustically. “Come on! Come on, let’s go Space Truckin’!” invites Bill, coming across more as a creepy old guy than the kind of person who drives a space truck you’d feel comfortable jumping into. Just wait until he screams, “Yeah, yeah yeah yeah!” No, no, no, no. “Rocket Man” (Elton John), featuring progressive rock veteran Steve Hillage, works much better. Hillage creates sounds similar to the “space whale” call from Star Trek IV: The Voyage Home. Bill’s interpretations of old classics work better when he’s not hamming it up. Much like his acting. And ham it up is exactly (predictably) what he did with “She Blinded Me With Science”, featuring Bootsy Collins. Since the original is so goofy, this works plenty well. Reggae veteran Toots Hibbert lends some credibility to the Police classic, “Walking on the Moon”. This is pretty good too! The ever-excellent Peter Frampton drops by for “Spirit in the Sky”, a song I usually find irresistible due to the vocal melody. Unfortunately that melody has been gutted, and without it, there’s not much left in terms of a song.
The first (and last) time I listened to this album, I remember being repulsed by “Bohemian Rhapsody”. You can picture it, can’t you? It’s terrible. “I’m just a poor boy,” whimpers Bill, and it’s awful. “Mama,” he cries, and I’m crying too.
Thankfully, Hawkwind’s “Silver Machine” (with Wayne Kramer and Carmine Appice) is a lot better than that. It actually rocks pretty heavy, and Bill finds the right tone for his vocals, no problem. This is noisy goodness and quite possibly the best track on the disc. A segue back into “Major Tom (Coming Home)” leads into a Sheryl Crow original called “Mrs. Major Tom”. This is a very nice piano based ballad, showcasing Sheryl’s powerful pipes. It’s a sequel of sorts to “Coming Home”, about what happens if he doesn’t come home. Bill doesn’t even appear on this one, strangely enough! It closes the first disc on a somber but very classy note.
I don’t know where Bill heard The Tea Party, but that’s who he’s covering on “Empty Glass”, featuring Michael Schenker. This track was from The Tea Party’s final album before breakup, Seven Circles, which I own but can’t remember at all. I should revisit it soon, because “Empty Glass” (which references Major Tom, a Starman, ground control, and Diamond Dogs) is damn good and heavy. “Lost in the Stars” is from the 1949 musical of the same time. The dusky, sparse piano accompanies Bill’s deep speaking voice perfectly. Still mellow but in tune with the Pink Floyd original is “Learning to Fly”. The only thing wrong with this version is that there is nobody who sounds like David Gilmour, and his guitar hook is such an important part of the original classic. Bill sounds perfectly at home, and the musical background is sturdy enough.
The Kinks’ Dave Davies helps Shatner out on guitar, for the Byrds’ “Mr. Spaceman”. It has that campy feel that doesn’t particularly work well. It’s amusing, but a novelty. “Twilight Zone” by Golden Earring (known for that chorus of “When the bullet hits the bone), rocks. Warren Haynes from the Allman’s kicks every ass in the room on his extended guitar solo. There is then a Shatner original called “Struggle”, written with his producer Adam Hamilton (ex L.A. Guns). This soft dramatic piece seems vaguely familiar, like a U2 outtake, and is very good in fact.
Winding things down, Sabbath’s “Iron Man” featuring Ozzy’s old band members Zakk Wylde and Mike Inez is an easy one to screw up, and Shatner does so gloriously. He sounds appropriately Dalek-like on the opening line, “I am Iron Man!” but he attempts to sing the song. I repeat: he attempts to sing the song “Iron Man” by Black Sabbath. This goes about as well as you would expect. Zakk backing him on lead vocals only creates an irritating cacophony. The album ends on a very different note: “Planet Earth” by Duran Duran. Not having any particular attachment to the original, I quite liked this one. Hamilton plays some killer disco bass on it. It sounds like “I Was Made For Lovin’ You”.
Going into this for the second time, I fully expected the album to suck again. The truth is, it doesn’t. It sure didn’t click with me the first time, but it is truly not a bad album. Metallica made a double album with vocals like this once; I think it was called Lulu. From this two disc set, you could extract one good solid CD of enjoyable William Shatner interpretations. So, given that:
DEEP PURPLE – Bombay Calling – Bombay Live ’95 (2003 iTunes)
There are very rare circumstances under which I will pay for a download from iTunes. I’ve made my case for physical product here over the years many, many times. When it’s a band that I obsessively collect, like Deep Purple, I make an exception. Bombay Calling is an interesting live release. It says “Official Bootleg” right there on the cover art, but I’m not really sure what constitutes an official bootleg anymore. I look at this as the soundtrack to a DVD that Deep Purple released in 2000, also called Bombay Calling. That’s essentially what this is — the audio to Bombay Calling, the DVD. In contains the entire show.
This concert was recorded on April 18 1995, which eagle-eyed fans will realize is well before thePurpendicular album. Bombay Calling was recorded not long after “the banjo player took a hike” and Purple carried on without Ritchie Blackmore. Joe Satriani stepped in for a short while, but it was Dixie Dregs guitar maestro Steve Morse that took the Man in Black’s place permanently. This concert was recorded at the very start of Morse’s tenure, and features a few songs they would drop from the set a year or two later. It also features a brand new tune they were working on called “Perpendicular Waltz”, later changed to “The Purpendicular Waltz” on the album.
There is one earlier concert available from this period, which is Purple Sunshine in Ft. Lauderdale Florida, exactly two weeks prior. That one is truly is an official bootleg, taken from audience sources and released on the 12 CD box set Collector’s Edition: The Bootleg Series 1984-2000. The setlists are slightly different. When they hit India for this concert, a new song called “Ken the Mechanic” (retitled “Ted the Mechanic”) was dropped, as was “Anyone’s Daughter”. They were replaced by long time favourites “Maybe I’m a Leo” and “Space Truckin'” from Machine Head.
Special treats for the ears on Bombay Calling include Steve Morse’s incendiary soloing on “Anya” (which would be dropped from the set in 1996). His feature solo leading into “Lazy” is also excellent, and of course very different from what Ritchie used to do. Jon Lord’s keyboard solo is among the best I’ve heard, and even features a segue into “Soldier of Fortune” from Stormbringer. The solo segments that Deep Purple did often allowed them to play snippets from songs from the David Coverdale period of the band, and this one was unexpected and brilliant.
I love a good, raw live performance captured on tape, and Deep Purple don’t muck around. This one is kind of special, coming from that transitional period when Steve Morse was just getting his feet wet. Considering how different he is from Ritchie Blackmore, this smooth switcheroo is quite remarkable. The band had changed, but into something just as good. How many other groups can make that claim?
3.5/5 stars
Since you can’t take a picture of a non-physical product, here are pictures of the 2 CD set that I burned from the iTunes download!
Get some Epic Review Time right here for your weekend!
DEEP PURPLE – Slaves and Masters (1990 BMG)
The much ballyhooed Deep Purple MkII reunion came to a crashing halt when Ian Gillan was fired in 1988. Just as the band released their first double live in aeons (Nobody’s Perfect) and a new single (a remake of “Hush”) to celebrate their 20th birthday, Gillan was out again. Except this time he was fired. And this time, Roger Glover did not go with him. Even his friend Glover said to him, “Ian you have gone too far this time.” His drunkeness and anger towards Ritchie Blackmore had gotten the better of him.
Blackmore briefly considered reforming Rainbow, or launching a new Blackmore-Turner Blues Band. He was however reluctant to break up Purple, liking the current chemistry he had with the other musicians. After inviting a singer named Bill Mattson from up-and-comers Tangier to try out for Deep Purple, the band reluctantly gave former Rainbow singer Joe Lynn Turner a shot. They eventually invited him to join. According to Turner, “I had to sit down with the boys in Purple and say, ‘Are we going to be true to Purple? Are we going to have the hard rockin’ blues image come out? I really don’t want to scream.” Turner would get his wish. According to him:
“The guys told me, ‘We’ve never really had a singer.’ I go, ‘Well you had Ian Gillan.’ They go, ‘He’s not a singer’s singer. He’s a stylist.’ I go, ‘Ahh, I see what you mean, a stylist as opposed to a singer — it’s two different things.’ They wanted someone who can really sing and write songs, like what we did on this record, as opposed to The House of Blue Light record, which was no songs and really yielded nothing they could bring to the stage.”
Call it what you like: Deep Rain Snake, Deep Rainbow, or just Deep Purple Mk V. Blackmore, Lord, Paice, and Joe Lynn Turner added a new album to the Purple canon called Slaves and Masters, with Roger Glover once again producing. With most of the music already written by Blackmore, it fell to Turner and Glover to take those riffs and turn them into songs. But what would it sound like? Would it sound like Deep Purple, or Rainbow?
Slaves and Masters is a regal disc, different from everything else in the Purple catalogue, but beautiful in a subtle, understatedly powerful way. The first track and single, “King of Dreams” for example gives you an idea of the what the rest of the album sounds like. It is a rock song, based on the bass guitar groove, but mellow. It’s in the pocket. The power in the song comes from the groove and the soulful and smooth vocal by Turner. The lyrics are a subtle rebuttal to Ian Gillan’s scathing 1973 song “Smooth Dancer”, which was a backhanded attack on Blackmore. “King of Dreams” takes Gillan’s lyrics and turns them on their head:
“I’m a real Smooth Dancer, a fantasy man, master of illusion at the touch of my hand.”
If you think “King of Dreams” is too mellow, fear not. “The Cut Runs Deep” is second up, and after a brief deceptive piano intro, the old Hammond organ kicks in backed by some ferocious riffing by Blackmore. When Ian Paice picks up the pace (a fast “Kickstart My Heart” drum beat), you’re out of breath and beaten. All you can do is submit to it and take the body blows of drums and guitars.
“Fire in the Basement” is acceptable, a blues shuffle that serves its purpose. Most of the album tends to be balanced between groove rockers in the “King of Dreams” mold, and ballads. There are quite a few ballads on this record: “Foretuneteller”, “Truth Hurts”, and “Love Conquers All”, which is fully 1/3 of the record. That is not to say these are bad songs, for all three are actually quite excellent. “Foretunteller” is particularly wonderful, with some beautiful fingerpicked chords as only Ritchie can play. These are not ‘power ballads’; rather these are powerful ballads, dark and moody. After all, this is Ritchie Blackmore; and the man in black himself could never turn in pop trash.
The band were sure to end the album wisely on a 6 1/2 minute jam called “Wicked Ways”. This is pedal to the metal Purple with Turner’s smooth rasp on top. You can hear Blackmore letting loose with his pick scrapes and pyrotechnics, but they are unfortunately too low in the mix to come through. Obviously Purple were going for a radio-friendly sound even on the heavy rockers, because you could remix this one heavy as hell if you had the master tapes!
I remember listening to this album for the first time at the cottage. I had rented the CD (remember that?) from a local video store in Kincardine, and I was recording it. When “Wicked Ways” came on, my dad said, “Who is this group?” Deep Purple, I said. “They are obviously a musician’s band,” he said. Normally he’d come up with one of his wisecracks like, “Why is the singer screaming so much, is he sick?” Not with Deep Purple. Upon “Wicked Ways” he bestowed one of his rare compliments.
There are only two poor tracks on the album: The lame-titled “Breakfast In Bed”, and “Too Much is Not Enough” which was written by Turner and outside writers. Otherwise, this is strong music. It is arguably not a Deep Purple album except only in name, but I think today most Purple fans are also fans of Rainbow. It could have used a ballsier mix.
Regardless of the quality of the album, the tour was a reportedly a bit of a disaster. Having Joe in the group did enable them to play a few rarer tracks, such as “Burn” which was originally sung by Coverdale, but this wasn’t enough to sell tickets or convince fans that Joe was “the singer” for Deep Purple.
The band began work on a second Deep Purple Mk V album, but regardless of any progress made, Gillan came back for The Battle Rages On in 1993, ending this brief era of Deep Purple’s history. But if you like Turner era Purple, there are still a few more rare tracks to be had. They are as follows:
“Slow Down Sister”, a single B-side, which was since reissued on a remastered version of Slaves and Masters. It can also be found on the Shades 1968-1998 box set. It cleverly recycles the riff from “Stormbringer” into a new song with a similar groove, although way more commercial. This does not sound much like Deep Purple at all, and the funky bass does not sound like Roger Glover playing.
“Fire, Ice & Dynamite”. This is apparently from a movie soundtrack called Fire Ice & Dynamite that I have never heard of. I however have it on a Purple DVD called New, Live and Rare (2000). This song is a Blackmore/Turner/Glover original, but Jon Lord did not play on it. I believe Glover plays keyboards, and Paice was also present. It is a pretty straightforward hard rock song, not too different from material on The House of Blue Light. Decent song, and an uber-rarity.
Final note: this album just sounds better on headphones. I don’t know why.
Check out Slaves and Masters for one of those lost Purple platters that, with a few listens, you could grow to love.
Deep Purple were the proverbial candle that was burned at both ends. Their first four studio albums (plus a friggin’ concerto!) were cranked out in a mere two years. Management and record labels pushed the band to stay on the road, only taking precious breaks to write and record new music. Sometimes the pressure worked (Machine Head) and sometimes it didn’t (Who Do We Think We Are). Ian Gillan’s resignation signaled the end of the celebrated Deep Purple Mk II lineup. Though the band successfully carried on with David Coverdale & Glenn Hughes, even those lineups imploded and by 1976, Deep Purple officially ceased to exist.
The absence of Purple created a void that was filled by greatest hits records, live albums, and well-known side projects such as Ritchie Blackmore’s Rainbow, Gillan, and Whitesnake. Still, there was such a demand for Deep Purple itself that original singer Rod Evans put together his own bogus “Deep Purple” and played several shows in 1980! In his band were a couple guys from Iron Butterfly, but no other former Purple alumni. Just Rod. The guy who didn’t sing “Highway Star”, “Smoke on the Water”, or “Lazy”. Needless to say, Rod Evans’ bogus “Deep Purple” did not last as soon as word got out. The lawyers for the other former Deep Purple members ensured that by running ads in the local papers. “The following members will not be appearing with the band called Deep Purple at [such and such a date and venue] : Ritchie Blackmore, Ian Gillan, Ian Paice, Jon Lord, Roger Glover, Glenn Hughes, David Coverdale.” A show in Montreal was particularly horrid, and reportedly the band’s stage act involved one of the members bringing out a chain saw to cut stuff up. They were hit with lawsuits galore and quickly packed it in, but not before recording two new songs for a projected new “Deep Purple” studio album. The two songs, “Blood Blister” and “Brum Doogie”, are thankfully lost. A video of “Smoke on the Water” live in Mexico remains, to remind us why this was not a good idea. [For more on the bogus “Deep Purple”, click here.]
Clearly, lots of profits were to made if the real Deep Purple were ever to reunite. They tried earlier on, but were hung up when Ian Gillan joined Black Sabbath. When Ian’s Sabbath commitments were finished a year later, it finally happened. Jon Lord had freed himself of Whitesnake, and Ritchie, Roger Glover and Ian Paice were all ready willing and able. The reunion was on, for real this time.
The band quickly agreed on creating new music (otherwise, what’s the point of it?), and decided that there had to be a level of quality that served the name Deep Purple. They retreated to the gorgeous Stowe, Vermont and found themselves to be in great spirits and full of ideas. Another wise decision was the use of bassist Glover to produce. After his first stint in Purple, he became quite successful as a producer. He recorded some of the best Nazareth albums, a Judas Priest record (Sin After Sin) , Rainbow, David Coverdale, and countless more. It only made sense to keep production of the new album within the band when you have a guy like Roger in the band!
The album that resulted, Perfect Strangers, was more modern but unmistakably Deep Purple. Taking advantage of modern recording studios resulted in an album with rich instrumental tones. As great as classic Deep Purple albums were sonically, Perfect Strangers has a new richness and clarity. Jon’s organ is deep and gorgeous, but Ian Paice’s drum sound is monstrous.
The opening track “Knocking at Your Back Door” (hah hah hah) commences with ominous keys from Jon, sounding at first like the pipes of doom. Then Roger begins a quick pulse, and Paice crashes that cymbal, and my God, Deep Purple is back! Ritchie and Ian join them for the first Deep Purple epic of the album — and on the first track, no less! “Knocking at Your Back Door” may be a joke lyrically, but it’s dead serious musically. It’s Deep Purple, but streamlined. Extraneous things have been discarded; others are sleeker. The only disappointment about the song is actually the guitar solo, which just slightly does not fit. Glover once said about this album that Ritchie struggles with solos in the studio more so than live. Something about when the red light goes on, he gets cold feet. There’s some incredible playing in this guitar solo, but parts of it feel out of place and overdone.
That one minor complaint is probably the only quibble you’ll read here about Perfect Strangers. The album continues to impress as it plays. “Under the Gun” is a song that would sound so great live today; shame that it hasn’t been played live in 30 years. I can’t imagine why. “Under the Gun” demonstrates the streamlined groove that Purple were going for in the 80’s. Listen to Paicey’s drums. They are relentless and powerful, but he’s also playing it simpler than he used to. This is intentional. When I say “streamlined”, that doesn’t mean there aren’t long solos, because Ritchie’s here is over a minute long (in a 4:34 song)!
“Nobody’s Home” gives Jon Lord a change to stretch out a bit on the synths, but it’s just a feint. This track re-writes “Black Night” for 1984, and ties it all up with a little bow in under four minutes. “Your lights are burnin’ bright, but nobody’s home!” sings Ian, for once not speaking of Blackmore! Jon takes the spotlight with a nice quick solo on the Hammond, a sound not often heard in ’84.
Side one was closed by the nasty little “Mean Streak”. It has one of those quirky Gillan lyrics that I like so much. “She came home last night, rockin’ rollin’ drunk. She talk no sense but she sound good so she thunk.” It’s a cool rock track with a chugging riff; always a deadly combination when wielded by Deep Purple. It boasts one of Ritchie’s coolest solos on the album.
I will never forget seeing this video on MuchMusic, introduced by Bruce Dickinson. Of Deep Purple he said, “Well, they’re very good. But not as good at football as they appear. No. They’re not.” The VJ (Erica Ehm) asked, “Why not?” Dickinson simply responded, “Because they’re not! What a silly question.”
Of all the songs on Perfect Strangers, only one has been consistently played live every tour: the title track. This epic, like its side one counterpart “Knocking at Your Back Door”, opens with Jon’s ominous keys. This time it’s the old trusty Hammond, and then the band crash in with the riff to kill all riffs. I think in some respects, this song has become Deep Purple’s “Kashmir”, especially when played in concert. It has evolved to become more exotic since it was first recorded, though it does contain those flavors here. The lyrics are ambiguously beautiful. Back in the Record Store days, I talked to a guy once who thought the lyrics were about God. I’ll leave it up to you. Blackmore called it his favourite Deep Purple song. It’s a tough call, but Top Five for sure. I cannot survive without this song in my life, period.
Then WHAM! “A Gypsy’s Kiss,” right in the kisser. If any doubters had thoughts that Purple had lost anything in the past decade, this song proved them dead wrong. Blazing pace, blazing Paice, the whole place is ablaze! Again, Ian’s lyrics are awesome, and I love the self-referencing. “Space truckers free and high, Teamsters get ya by and by.” I also really like this verse, because, hey. John Wayne, man.
John Wayne, the Alamo, Crazy Horse, Geronimo, I’ll smoke a piece with you. Mind, Body, Heart and Soul, We got Rock and Roll, And there’s nothing they can do.
A good Deep Purple album rarely has a slow blues buried deep within. “Wasted Sunsets” is the album’s heavy blues track, like “When a Blind Man Cries” was to Machine Head (though it was relegated to a mere B-side). Jon’s organ sets the mood stunningly, and Ritchie absolutely nails it. I get the feeling that Ian is baring his soul in the lyrics, although he doesn’t seem too regretful of all those one night stands.
For self referencing, no lyric on the album beats out “Hungry Daze”:
The mountain’s getting cold and lonely, The trees are bare, We all came out to Montreux, But that’s another song, you’ve heard it all before!
Regrets? Hell no. “Different girls, laughing girls, forever girls and it was loud!” Gillan has a talent for making cheeky lyrics like this work with serious music. “Hungry Daze” has that modern Purple groove with the same kind of chugging exotic riff that powers “Perfect Strangers” — but faster! There’s even backwards tapes (Jon’s organ), a sound unheard on a Deep Purple album since 1969, but back in style in 1984.
Lucky cassette and compact disc buyers got a bonus track: “Not Responsible”. When I first got the album (on cassette) I wondered, “Why is this song a bonus track? It’s one of the best songs!” Good question! (Perhaps because it’s the only song on which Gillan dropped an f-bomb.) I think it closes the album even better than “Hungry Daze” does. Lyrically it’s more drinking and debauchery. “So I’ll raise a glass to you, the foot is on the other shoe.” I consider “Not Responsible” to be of equal value to any of the better tracks on the album proper, so if you only own this on LP, consider getting this song (legally) to complete the picture.
Want more? There’s one more, but you’ll have to do a little research to get it in full. “Son of Aleric” is a killer slow groove 10 minute instrumental, with all the flavor of the album. It was released on the B-side of “Perfect Strangers”. If you bought the 7″ single, you got the 5:28 edit version. If you bought the 12″ single, you got the full Monty at 10:03. The full version was rarely issued on CD. I have it on a compilation CD with the cumbersome title of Knocking at Your Back Door: The Best of Deep Purple in the 80’s. But “Son of Aleric” is only on the UK version! (Other territories just got a live version of “Child in Time” from the live album Nobody’s Perfect. Bummer.) This is the kind of open Deep Purple jam that you just want to melt into. It’s magic.
If you like Deep Purple, but do not own Perfect Strangers, then I advise that you remedy that situation at your earliest convenience. I am no stranger to this album; I have played it hundreds of times, often more than once in the same day. I have never grown tired of it. For that reason, and many more, Perfect Strangers earns the coveted:
DEEP PURPLE – The Book of Taliesyn (1968 EMI, 2000 remaster)
I’m not a big fan of The Book of Taliesyn, and that’s not because I don’t like Deep Purple Mk I. I do like Deep Purple Mk I, or at least some of it. I think the third Purple album from ’69 is one of the band’s all-time best, and an underrated classic. The Book of only scratches the surface. The band had yet to find their sound, which would emerge fully formed a year later on Deep Purple In Rock. This album does represent significant growth, but not in the heavy metal direction that Purple would co-pioneer. Instead, Book of travels further down the orchestral roads with Jon Lord.
The Book of Taliesyn, like Shades of Deep Purple before it, is built with cover songs as its cornerstones. It contains one of my favourite Deep Purple Mk I tracks: their version of Neil Diamond’s “Kentucky Woman”. Energetic, ragged and rocking hard, “Kentucky Woman” is the absolute best track here. Ian Paice is the MVP, but singer Rod Evans is well suited to this kind of tune. Other standouts include “Wring That Neck”, the legendary instrumental (also called “Hard Road”) that the band continued to play through the decades even after Blackmore left the band in the 90’s. “The Shield” isn’t bad, as it features a long instrumental break featuring Jon and Ritchie. There is also the track “Anthem”, a Jon Lord helmed piece that delves into classical, forshadowing the “April” suite from the third album, as well as the Concerto for Group and Orchestra itself. So, the band was certainly stretching out here. There is a definite growth from the first album. Unfortunately, the album is bogged down by another slow, boring Beatles cover (“We Can Work It Out”, this time) and also “River Deep, Mountain High”, a whole 10 minutes thereof, which does nothing to help the band. The only notable thing about it is Jon’s “Thus Spoke Zarathustra” intro.
Like the other two albums in this series of remasters on Spitfire, there are five previously unreleased bonus tracks. All are valuable in their own way. Keep in mind that these tapes are old and may not sound as good as you’re used to. But, “Playground” is a bright instrumental from BBC tapes, and “Wring That Neck” is presented live. “Hey Bop a Re Bop” is buried treasure, an early version of what would become “Painter” on the next album. There are two more cool covers to boot. “Oh No No No” is a studio outtake, but I don’t recognize it. It’s a mid-tempo pop rocker with splashes of Jon’s organ that quench the thirst. Nicky Simper demonstrates some impressive bass chops, but he just wasn’t the right fit for the band. A BBC Top Gear session yielded a song called “It’s All Over”, a slow country blues ballad that Thin Lizzy could have done at the same time. This is a great tune, and it’s a shame that Purple never recorded it properly.
The colourful cover art is a quaint reminder that once upon a time, album covers were 12.375″ x 12.375″ and you could gaze upon the finer details for hours. CD just doesn’t cut it. This cover was so different for the band. Their name and the album title appear on it several times, and each band member is credited (first names only) on the front. The bizarre landscape foreshadows the Hieronymus Bosch painting on the next album.
2/5 stars. Not quite the band we know and love, but slowly getting there.
It’s a late start, but welcome to Purple Week! It’s going to be all Deep Purple and Deep Purple alumni all week to Saturday, with at least two Epic Reviews lined up. Let’s go!
DEEP PURPLE – Shades of (1968 EMI, 2000 remaster)
I’m not a big fan of Shades of Deep Purple, and that’s not because I don’t like Deep Purple Mk I. I do like Deep Purple Mk I, or at least some of it. I think the third Purple album from ’69 is one of the band’s all-time best, and an underrated classic. Shades of only scratches the surface. In 1968, these five guys didn’t have the road experience together yet to really gel as a unit. They had just formed and almost immediately began recording demos that landed them a record deal. Ritchie Blackmore, a session player, had yet to emerge as the confident axeman that he is, still shyly putting together his solos while Jon Lord takes the forefront more often than not.
Deep Purple opened their very first vinyl with an instrumental. “And the Address” is remarkably recognizable as Deep Purple, particularly because of Ian Paice and Jon Lord.
“Hush” was and is still an extraordinary version, and my preferred take over the 1988 Ian Gillan version. “I’m So Glad” isn’t bad, but “Mandrake Root” is not what it would later become live. “Help” has been slowed down to a crawl (reportedly, the way the Beatles wanted to do it) but it doesn’t rock. “Love Help Me” is 60’s pop rock goodness, as is “One More Rainy Day”, but “Hey Joe” is another one that would come across better live. It doesn’t help that Shades of Deep Purple doesn’t really sound that great.
The five bonus tracks are all valuable, as these are some of Purple’s earliest live performances. Something like “Hey Joe” live (from the BBC) begins to show what the band would make of it. There’s also the rare track “Shadows” which is better than some of the tracks on the album itself. This outtake probably could have used a little additional polishing, but it is what it is, and it’s worth checking out if only for Ritchie’s solo. The audio fidelity on these tracks is sketchy, be forewarned. That shouldn’t be unexpected for demos of this age.
2/5 stars. Hold tight, rock fans — a year later, the best of Mk I was yet to come!
DEEP PURPLE – Made in Europe (1976 EMI)
mikeladano.com 