DEEP PURPLE — Fireball (review)

Album · 1971 · Hard Rock

4/5 · 2024-09-03
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.