siLLy puPPy Riding high off the smashing success of “In Rock” which propelled DEEP PURPLE into the realms of superstar status, the band became the hottest act in the UK and Europe and was obviously quite in demand for live performances and other promotional engagements which led to very little time in developing a proper follow up album that the record companies demanded with a cracking whip back in the day. During these busy times the strains of the band began to show with both Roger Glover and Jon Lord suffering physical ailments while Ritchie Blackmore and Ian Gillan butted heads about a great many things which would ultimately end the Mark I lineup shortly down the road.

Nevertheless the show must go on and DEEP PURPLE delivered the goods in 1971 with FIREBALL after releasing the non-album single “Strange Kind Of Woman” earlier in the year to keep the band in the public’s eye. While commercially successful and keeping the band relevant, FIREBALL was a major departure from what was heard on “In Rock” and while that album was instrumental in cementing DEEP PURPLE as one of the big three in the development of heavy metal, FIREBALL on the other hand found the band toning things down a bit looking more to the world of bluesy hard rock without the fiery bombast. Yet even though considered the inferior sibling sandwiched between the band’s two major powerhouses of its career, FIREBALL does have its charm and has its way of weaseling its way into your heart.

FIREBALL was released differently in the US and UK with the former featuring the single “Strange Kind Of Woman” and the UK version replacing it with “Demon’s Eye.” Like most early DEEP PURPLE albums, this one found a gussied up 25th anniversary edition with all the singles and non-album tracks as well as demos in abundance tacked on to the end. The album begins with the title track which is the closest thing to what was heard on “In Rock” and must have lulled the listener into a false sense of expectation as it featured the same heavy hitting drive with Ian Paice pummeling out his top dog drumming skills as one of classic rock’s most competent drummers. The catchy riffs and haunting organ backing by Jon Lord found the usual Blackmore guitar soloing trading off with Lord’s classical key contributions and the track remains the best known from the album.

However starting with the second track “No No No” things change quite a bit with a slowed down groove and a rather funky blues rock vibe that features slide guitar action and a rather repetitive verse / chorus / bridge type of song structure. While the album didn’t quite appeal to me at first with songs like this stymying my enjoyment factor, subsequent exposures have proven to find this one as well as the album to sink in on a deeper level. I am now hooked. On the original UK version “Demon Eyes” occupied the third position and likewise offers the same sort of groovy boogie rock with a heavy dose of organ bombast that likewise offers a palatable enough hook to eventually sink your teeth into.

The one turkey on the album is the head scratching country folk honky tonk rocker “Anyone’s Daughter” which sounds woefully out of place. An Ian Gillan penned lyric oriented track that unfortunately yields clunky lines such as “Why do i always get the kind of girl that i didn’t oughta get.” The track would be fine on an album by The Band but woefully out of place on a DEEP PURPLE album. Given it’s awkward middle section that rather breaks up the continuity of the album, it would’ve made much more sense to place either the single “Strange Kind Of Woman” or its superior B-side “I’m Alone” in its stead.

The second side is the most dynamic and most interesting as the band offers a more sophisticated approach that borders on proto-prog with the stellar counterpoint-rich “The Mule” that served as the perfect gateway for Ian Paice’s phenomenal drum solo on “Made In Japan.” The track features a unique atmospheric overlay while Blackmore delivers some nicely delivered guitar wizardry along with really cool tones. “Fools” is probably my favorite track on the album with its trippy psychedelic intro that hypnotizes you before bursting into the satisfying chord progression that constitutes the main song structure. This track finds al the musicians as well as Gillan’s vocals at top performance on FIREBALL. The closing “No One Came” is also a fascinating departure from anything DEEP PURPLE had released before with a simple riff acting as the backdrop for Gillan’s narrative vocal delivers to discuss the ironies of being a famous rock star in a band and all the contradictions that come with the package with yet again more stellar performances by the band members.

While tamer than “In Rock” and a bit more esoteric sounding than the more familiar “Machine Head,” FIREBALL is a strange little bedfellow next to its more famous counterparts that bookend it. Panned by the band itself as their weakest effort with the exception of Ian Gillan who is very fond of it, FIREBALL is one that started out mediocre for me but as i continued to listen to it consistently for a period of weeks it slowly unleashed its magic and once all comparisons between other albums dropped out of the big picture then suddenly i found myself loving this album a lot with the sole exception of “Anyone’s Daughter” which i always gleefully skip without looking back! While this album will always linger in the shadow of the band’s more popular albums, FIREBALL should have been titled “Curveball” because it delivers a totally different reaction than what your initial impressions are. It’s an excellent album that i’m grateful i persisted in cracking the code because now it’s one of my favorite DEEP PURPLE albums that i really can’t get enough of when i’m in the mood for early 70s hard rock.

martindavey87 Following two fairly boring psychedelic rock albums, I figured the early Deep Purple era just wasn’t for me. Maybe a bit “before my time”, but I found ‘Shades of Deep Purple’ and ‘The Book of Taliesyn’ to be pretty uninteresting. So, whilst going through the bands discography, I set about the arduous task of having ‘Deep Purple’ in my playlist, ready for multiple listens throughout a number of weeks. Much to my surprise however, I actually enjoyed it!

Released in 1969, this was Purple’s third album in barely the span of a year. An impressive feat, especially by today’s standards! But with little time between releases, I didn’t have much hope for this one. But something about it just resonates with me. It’s not much different from its predecessors, but the song-writing just seems a bit more focused. It feels as if the British five-piece are leaving the 60’s psych music behind and shifting towards a more progressive rock-based sound. This is especially evident on the 12-minute track, ‘April’.

And of course, it works! The interplay between guitarist Ritchie Blackmore and keyboardist Jon Lord is really starting to shine here. And while past albums were half-full with covers, ‘Deep Purple’ only features one cover song. I’d imagine after a year of recording and touring, the members here were becoming more comfortable with their own writing, or perhaps by this point they’d made a name for themselves, enabling them to rely more on their own compositions rather than using others.

Notable tracks include ‘Blind’, ‘Chasing Shadows’, ‘Bird Has Flown’, ‘Why Didn’t Rosemary’ and bonus track ‘Emmaretta’, but in all honesty, the whole album is pretty easy and pleasant to listen to from start to finish. And while everyone and their dog knows that better things are to come, ‘Deep Purple’ is no-doubt an early indication of what the hard rock and heavy metal pioneers are capable of.

martindavey87 Less than a year after the release of their debut, Deep Purple were at it again, with this, their second full-length album, offering another slice of dated, late-60’s psychedelic rock.

Much like its predecessor, this is a far cry from the Deep Purple everyone knows and loves today. There’s no smoking on the water or highway starring here, this is all pretty weird, hippy rock. And by rock, I mean of the least hardest variety.

Vocalist Rod Evans may have suited the bands style back then, but it’s apparent at this point that the band won’t be living in the 1960’s forever, and we all know that much better things are on the horizon once a certain line-up change takes place.

But still, criticisms aside, there’re a few noteworthy tracks here. ‘Hard Road (Wring That Neck)’, ‘The Shield’ and ‘Listen, Learn, Read On’ all show the amazing talent of the musicians involved, particularly guitarist Ritchie Blackmore, drummer Ian Paice and keyboardist (or is he simply an organist at this point?) Jon Lord. These guys were well ahead of their time.

Overall, ‘Book of Taliesyn’ is an improvement upon ‘Shades of Deep Purple’, but ultimately is still a pretty forgettable release, especially when you consider some of the absolute classics that are to come.

siLLy puPPy Approaching nearly 60 years together as a band, it’s true that only drummer Ian Paice has been with DEEP PURPLE for the band’s entire 56 year existence with other members coming and going over the decades but the band as a commercial entity has sold well over 100 million albums in its amazingly fruitful career not to mention an early innovator of hard rock and heavy metal. It’s hard to believe that these old timers now mostly in their 70s are still cranking out the same hard driving rock that they did in the 1970s but here we are in the year 2024 and band is releasing its 23rd studio album!

After the departure of long term guitarist Steve Morse who played with DEEP PURPLE from 1994-2022, the band sallied forth well into the 2020s with guitarist Simon McBride who has honed his bluesy hard rock skills in bands like Snakecharmer and Sweet Savage. Along with vocalist Ian Gillan and bassist Roger Glover, DEEP PURPLE is still 3/5 of its classic Mark II lineup and along with keyboardist Don Airey who has been cranking out his meanest organ playing skills 2002, the band is determined to keep going until every last member has taken his last breath.

=1 finds Bob Ezrin back in the producer’s seat who together with all the band members crafted 13 new tracks that evoke the spirit of classic DEEP PURPLE and delivered with a loose concept of the world rapidly becoming more and more complex. After the all cover song album of “Turning To Crime” one could easily assume that DEEP PURPLE was ready to call it quits but the band demonstrates that while not up to its peak as far as energetic performances are concerned, these seasoned veterans still have a knack for writing catchy hard rock tunes that find that perfect mix of boogie rock, bluesy guitar leads and organ bombast accompanied by Ian Gillan’s distinct vocal style which amazingly has held up quite well over the decades.

The album hits the ground running with the album’s opening “Show Me” which finds DEEP PURPLE in fine form for a bunch of guys now well past their prime. What the band lacks in its energetic drive that catapulted classic albums like “In Rock” and “Machine Head” to the top of the charts, the modern DEEP PURPLE rather compensates with emotive performances focused more on the melodic touches and the crafty soulful rendering of their classic sound brought to a new era. Unfortunately some of these slowed down versions of classic DEEP PURPLE are a little on the mopey side with the track “I’ll Catch You” falling into the dreaded AOR turf, something classic DEEP PURPLE never would’ve approached!

Overall this isn’t a bad batch of tracks by one of the most famous rock bands ever to have existed but it’s also a reminder that these guys’ best days are well behind them and now they are simply doing what they love in order to keep the old adage “use it or lose it” alive and well. DEEP PURPLE has definitely been a lot more interesting since 2013’s “Now What?” and in that regard the band continues to craft instantly catchy tracks that will appeal to any long time fans of classic PURPLE. While it’s hard to fault this album in any particular way it is hard not to compare them to their glory days when the combo pack attack of Jon Lord’s classically infused organ runs with Ritchie Blackmore’s neoclassical shredding were in full force.

This is a far cry from those days but nevertheless a pleasant slice of the band in its latest formation however it seems that the much younger McBride who is only in his 40s is kept on the leash and not allowed to crank out the serious energetic drive and guitar majesty that would kick this album’s energy level up a few notches with the exception of the excellent “Now You’re Talkin” which takes nine tracks to get to. While not bad, it’s also not going to go down in history as anything that stands out in the band’s canon but rather a testament to the band’s longevity and determination to sally forth no matter what obstacles lie in their path.

siLLy puPPy Few albums can claim to have rewritten history but that's exactly what IN ROCK, the fourth album by the British progressive symphonic rock turned hard rock band DEEP PURPLE achieved with this landmark release from 1970. While the controversy preservers regarding the origins of heavy metal music, there's little doubt that IN ROCK played a pivotal role in ushering in the 1970s with a hefty infusion of energetic drive and virtuosic dexterity that took the harder arenas of rock to a completely new level. The leading up to the classic Mark II lineup of vocalist Ian Gillan, guitarist Ritchie Blackmore, organist / keyboardist Jon Lord, bassist Roger Glover and drummer Ian Paice reads like a soap opera with new members snatched away from another band and the back stabbing act of forming a new lineup behind the backs of current members. Although deplorable in many ways, the tactics paid off and with the release of IN ROCK, the new lineup propelled DEEP PURPLE onto the world's stage and gave permission for bands to get hard and heavy in the 1970s with faster tempos, heavier distortion and an energetic drive that would morph into the world of heavy metal in the latter half of the decade.

Although DEEP PURPLE had formed all the way back in February of 1968, the band led by Ritchie Blackmore and Jon Lord was a bit aloof and missing some key ingredients in cementing a sound that made them stand out. While going through the proto-prog motions of crafting symphonic rock albums that followed in the footsteps of The Moody Blues, the Mark I era of DEEP PURPLE suffered from inconsistent songwriting, an over-reliance on cover songs and a noticeable lack of vitality that propelled them to the next level. As Blackmore and Glover conspired behind the backs of original members: singer Rod Evans and bassist Nick Simper to secretly replace them, after discovering a band called Episode Six commenced to seduce their singer and bassist over to the PURPLE side of the fence going as far as recording material with the new band members before telling the old ones they have been ousted. Long smitten with the organ infused psychedelic rock created by the US act Vanilla Fudge along with hearing Led Zepplein's debut that delivered bantering tracks like "Communication Breakdown," the band developed its own distinct brand of hard rock and proto-metal. Blackmore and Glover's plot to steer the band in a new direction ultimately proved to be a winning strategy.

After the drama played out and all was said and done, the new DEEP PURPLE emerged and found one of their missing ingredients, a competent songwriter in the form of Roger Glover. The newfound chemistry proved to be one of those magic moments and the band set out to start anew. IN ROCK was the perfect album to welcome the freewheeling 1970s in June of the first year after the 60s faded away. Following the recent groundbreaking albums from Led Zeppelin and early heavy metal pioneers Black Sabbath, DEEP PURPLE delivered a complementary proto-metal style that rather than delving into the occult and demonic focused on fast tempo rhythms, tight-knit instrumental interplay, catchy guitar-driven grooves and a focuss on feisty soloing trade-offs courtesy of Ritchie Blackmore's electrifying guitar playing and Jon Lord's classical trained finger gymnastics turned up a few notches. The band forged seven distinct tracks that delivered an electrifying mix of heavy driving rock, gritty yet soulful vocal performances and a delivery system that offered instantly ear wormy hooks fortified with moments of progressive complexities. The recipe proved to be a major hit in the UK and remained high on the album charts for the next year. Ironically the band found success in the USA with their earlier albums but failed to make a dent with IN ROCK.

The new material was as much about improvisation as it was about crafting enduring compositions. "Speed King" for example was an attempt to emulate Jimi Hendrix's "Fire" but took on a life of its own. "Flight Of The Rat" likewise was based on the classic tune "Flight Of The Bumblebee" before morphing into a DEEP PURPLE original through endless rehearsals. The highlight of the album "Child In Time" began by borrowing the simple opening riff from It's A Beautiful Day's track "Bombay Calling" from its 1969 debut and likewise evolved into a completely different beast that would build upon the opening keyboard melody and turn it into a sizzling shredding jam session in the middle before resolving itself as it began. With new lyrics that took an anti-war stand in the time of the Vietnam conflict, the song evolved into a monstrosity that eventually became a de facto anthem for the anti-Communists in Eastern Europe. The track is really the highlight with dramatic crescendos that alternate between slow suspenseful vocal motifs and contrasted by thunderous displays of frenetic heaviness.

IN ROCK in effect played a part in a major evolution in the history of rock music that included inventive intros to songs such as the guitar and keyboard bombast that start the album off before the crushing assault of "Speed King" delivers a bouncy guitar riffing baseline that ushers in the band's unique rhythmic drive and accompanying keyboard counterpoints. The mix was irresistible and DEEP PURPLE had hit the big time and soon would become one of the biggest bands of the entire 70s and influential to a whole new breed of heavier rockers. Newbie Ian Gillan's vocal abilities proved to be the perfect match for the band's unique sound with a wide expressive range all the while providing that hard rock gruff that would develop into the more extreme expression of heavy metal down the road. Each track featured a distinct personality with varying riffs, organ fills, drumming techniques, unexpected elements and diverse dynamics however what tied the album together cohesively was the infectious stylistic approach that was delivered in a high-powered perfection. Jon Lord's extravagant keyboard wizardry added a completely new element to the standard rock paradigm that allowed the classical wankery of the past to integrate brilliant moments of contrast to the more boogie rock guitar riffing.

With an impressive repertoire of tracks that offered varying guitar riffing styles, instantly catchy melodic twists and feisty lively performances, IN ROCK really delivered the goods in giving the world of rock music the upgrade it needed to take the popular musical form into the 1970s and along with Led Zeppelin, Uriah Heep and Black Sabbath, dominated the hard rock sector in the year 1970 and pointed the way to the next level of artistic integrity thus giving the world of rock and roll a much needed bridge from the giddy flower power hippie years to the more cynical years ahead. Not only DEEP PURPLE's finest moment but really one of the best albums ever made and although the band would become superstars and dominated the early 70s hard rock scene, these five musicians never quite rekindled the magic that was displayed on this album. It's true that some of the tracks take a little longer to warm up to. The first side of the album offers a more instant likability but repeated listening sessions have revealed that even what i once perceived as the "lesser" tracks such as "Living Wreck" and "Hard Lovin' Man" offer the same magic in a delayed fashion. In short, IN ROCK is one of the true rock masterpieces of the ages!

martindavey87 Don’t get me wrong, I love Deep Purple, and I really enjoy the songs on offer here, but these videos are all pretty hilariously bland and uninteresting, and sure reflections of the times and music genre. Besides that, this DVD is barely half an hour long, and comes with no extras, and all these videos are available on YouTube. Not even some additional chit chat between the videos. So there’s really no point in owning this unless you’re an OCD collector like me, who needs to own everything. And even then, it only takes up space.

But I’m a collector, and I only paid 50p for this. So why not?

AtomicCrimsonRush Gillan, Glover, Lord, Morse, Paice are the essential Deep Purple lineup and it was a pleasure to see them doing this ambitious concert with finesse and flair, absolutely cementing their reputation as the ultimate metal progenitors. However therewas not enough rock and it concentrated on an orchestral piece that goes on forever. The DVD features highlights such as the classic songs, Wring That Neck, Pictures Of Home and Smoke On The Water. These were the highlights for me but I became rather bored and disinterested with the lengthy Concerto For Group And Orchestra - Movements I to III. It was interesting at first taste but soon became rather tiresome. So I was a little disapointed in this DVD.

It may be a matter of what you want from this band, I prefer the hard, raucous sound of Machine Head, Made In Japan or In Rock. Dont get me wrong. the orchestra plays beautifully, and its all very technically proficient as far as the movements are concerned, but not Deep Purple the way I remember them. I like my Deep Purple served up with classic killer riffs, magnificent vocals and virtuoso drumming. So this DVD may be great to watch once as a curio piece perhaps, but on second and third viewing its a real yawnfest.