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[Official Site]
Reviewed:
  1. Shades of Deep Purple (1968)
  2. The Book of Taliesyn (1969)
  3. Deep Purple (1969)
  4. In Rock (1970)
  5. The Gemini Suite (1970)
  6. Fireball (1971)
  7. Machine Head (1972)
  8. Made in Japan (1973)
  9. Live and Rare (1972)
  10. Who Do We Think We Are (1973)
  11. Burn (1974)
  12. Stormbringer (1974)
  13. Come Taste the Band (1975)
  14. Perfect Strangers (1984)
  15. Purpendicular (1996)
Remarks:

Country: UK

Perhaps the first band, of which I became a fan (grammar school)!

Shades of Deep Purple (1968)

Before Deep Purple found Ian Gillan, there was the so-called MK-1, which produced three albums, this being the first one. There is nothing remarkable here, the whole sound is archaic and there's little doubt that had the band continued to play this style, it would have been barely a footnote in a music guide. Most of the compositions are Lord's (turns out this is not a good thing), there's nothing of the energy that is to become MK-2. The worst offender is the Beatles cover (personal pet peeve), which is worse than the original... and I hate the Beatles. The Hendrix version of "Hey Joe" is 1,000 light years ahead, much better and much more convincing. If there's anything good here, it is "Mandrake Root" which later became a staple concert piece where the band could go crazy.

Verdict: you won't lose much if you skip this. I only have it because it's part of my Purple collection.

 

The Book of Taliesyn (1969)

The second of the MK-1 albums. Although not much better than "Shades," this one actually has several quite decent songs. The style is old fashioned, still more rock than hard. "Hard Road" (which is the US version of "Wring That Neck") is another concert favorite for the band, so it's worth checking out. The anthem "Anthem" is one of the rare excellent Lord compositions, very majestic and memorable. The cover of "River Deep, Mountain High" is not bad either, although Tina and Ike's version is better. The other awful Beatles cover "We Can Work It Out" is just as bad as the original. It just isn't possible to do a Beatles song in any tolerable fashion, noone can.

Verdict: better than the first one, there's at least one song that makes it worth buying this, especially the cheap US re-issue.

 

Deep Purple (1969)

This is the third (and last) of the MK-1 albums (although for some reason, perhaps the self-titling, many think it is the first) and the best of the bunch. The style is becoming more Purple and less generic, the compositions are becoming more complex and guitar-driven, the organ is taking the backstage. The singing is still anemic, though, which is the biggest complaint about the whole MK-1. The best songs here are the ballad "Blind," the long but very good "April," which begins with a timid introduction and then explodes into an energetic song. The cover "Lalena" is too bland for my palate.

Verdict: if you want to have an MK-1 album, get this one first. All three have been recently issued in the US and although the CDs are cheap (both in price and production quality), you probably do not want more.

 

In Rock (1970)

This is the first studio album in the MK-2 lineup. This is the classic Deep Purple, the one responsible for changing modern music, spawning numerous imitators (including their own spin-offs and later incarnations). The loudest band at the time, this is hard rock at its best. Quick songs, with tight arrangements, pounding drums, wailing guitars, duels with the keyboards, and a superb singing which is both high pitched and powerful. The lame US edition that I have cuts the organ intro to "Speed King," which is a regrettable loss, as it enhances the contrast in the song. Everyone knows "Child in Time" (although many still argue about its classification). The long instrumental part is perfectly balanced by Gillan's screams. The longer "Flight of the Rat" has one of the few drum solos committed to tape (although not for Purple, who seem to like showing off). If one listens close enough, "Into the Fire" displays melodic similarities to King Crimson's "21 Century Schizoid Man." It's there, the motiff and all, really. A great legendary album from a great legendary band. The cover (obviously designed to appeal to US audience) is a good match for the title.

Verdict: a classic.

 

The Gemini Suite (1970)

No, this is not the lame studio version featuring Tony Ashton, Albert Lee, and Yvonne Elliman. It is the almost as lame Purple original. Lord composed this as a continuation of the "Concerto for Group and Orchestra" and it was intended to be played by Deep Purple with an orchestral accompaniment. Deep Purple performed this once live, at the Royal Festival Hall in 1970, which is where this was recorded. If you liked the other Concerto, you will love this one. To me, it gets a bit boring after a while, athough it must have been spectacular to see live. Good thing the band abandoned the grandiose orchestrations in favor of the noisy hard rock we all love.

Verdict: a good addition to a Purple collection.

 

Fireball (1971)

The second of the MK-2 albums, not as good as its predecessor or successor, but still a definite buy for any CD collection worth its name. There are three absolutely essential songs here. First, there's the demonic "Fireball" where Paice, believe it or not, uses one of the first modern double-bass drumming to keep the pounding rhythm going. I had to see it to believe it, which I did on "Scandinavian Nights," a video of a 1972 concert in Denmark that I bought in Italy. It's black and white, but what a treat! The other must-have song is "Demon's Eye" which also appears with "Fireball" on the "Deepest Purple" collection, which I no longer have, but for which I harbor special sentiment as it was the first Purple album I recorded ever. In fact, it was one of my first very own tapes, which I acquired back in 1985 (when I was 12). For some reason, the country "Anyone's Daughter" does not appeal to me, but then we get to "The Mule" which is another one of those instrumentals Purple used to play a lot live in order to showcase their instrumental virtuosity (well, at least for Paice -- this is the song that usually features the 10 minute drum solos).

Verdict: a minor classic.

 

Machine Head (1972)

This is the third studio MK-2 album and by far the most influential hard rock album ever recorded. There's hardly a song here that hasn't become a classic by itself, and even people unfamiliar with this music are bound to have heard "Smoke on the Water" or "Highway Star." The album packs an unforgettable punch, one can scarcely begin to appreciate it before it's over. Must replay, must replay. The sound is very modern, which is surprising considering where they recorded it (rehearsed in a hotel, recorded using the Rolling Stones' Mobile Studio). The Blackmore/Glover composing duo hits its peak here, and although the music is less aggressive than "In Rock" it is not as restrained as "Fireball" and the production is crystal. Most of the songs have become concert mainstays and Purple still open frequently with "Highway Star" and play "Lazy" and "Space Truckin'" often enough. Without question, the anthem "Smoke on the Water" is arguably the definite hard rock song.

Verdict: a definite classic, deserves a 6 out of 5.

 

Made in Japan (1973)

Oddly enough, Deep Purple's greatest success came not in their native Britain, nor in the hospitable USA, but in Japan. This concert is a beautiful and faithful representation of a Purple live performance in 1972 (well, I can't really tell because when I saw what was left of the band, it was already too late; however, all the live tapes that I've heard and seen sound just like it, except the sound it worse). Everything is here, the great songs, the long improvisations, and the attitude. Unfortunately, I was stupid to buy the single CD version (which is missing three songs) because I thought they won't issue the full version. Well, they did and now I have to shell out the big bucks for it (or I'll just keep the tape).

Verdict: an excellent concert (this is from a guy who rarely buys live recordings)

 

Live and Rare (1972)

Deep Purple have been guilty of releasing way too many live albums and if one tries to keep track of them, it's easy to go bankrupt. This double one, however, is an exception (which is why I bought it). Recorded by Swedish radio during three gigs Purple did in Scandinavia during November of 1972. Incidentally, one of the best live videos I have is from the same period. All the crazy jamming is here, with all the requizite instrumentals. The one big surprise is the cover of Rolling Stones' "Paint It Black" which happens to be an exciting version, given Purple's uneven earlier record with covers. Gillan is at his peak and screams with wild abandon (something he'll come to regret later). Some cool photos in the booklet.

Verdict: together with "Made in Japan" this one gives a good overall picture of Deep Purple in live action.

 

Who Do We Think We Are (1973)

The last studio of MK-2, at the time this was recorded, the band members, and especially Blackmore and Gillan, were already on non-speaking terms, with some fist fights reportedly breaking out during the studio work. Well, if that was the case, one cannot tell from the album. It is a superbly crafted and well composed album, although it does not have the originality of "Machine Head." The sound has become much more refined, and the band indulges in some experimentation (such as keyboards reproduced at faster speed on "Rat Bat Blue"). Unlike the other MK-2 albums, this one has only one really famous song - "Woman from Tokyo" but that does not mean that the others are any worse. I am especially partial to "Mary Long" and the odd "Place in Line" which is a rhythm-and-blues gone mad. Pretty good work for a band on the verge of disintegration. Who did they think they were? Well, if they thought they were the best hard rock band on earth, they had it right. Flying in their own jet must have been a nice perk as well.

Verdict: another minor classic.

 

Burn (1974)

This is the beginning of the end. The two bastards who went on to ruin the band make their appearances here for the first time (MK-3). Coverdale is restrained and thankfully Blackmore made him write lyrics that are nothing like the cheesy crap he went on to spew in his subsequent years with Whitesnake. There are no teary teenage ballads here (well, ok, "Mistreated" could be one, but isn't). Hughes has to be the worst choice for a bassist ever. His former band, Trapeze, was a mediocre outfit that did not amount to anything except managing to produce a drummer for Judas Priest. His annoying high-pitched screams don't fit the music at all. Because the newcomers are not as cocky as they would become later, this album is still Purple, although with too much bluesy feeling. There are quite a few excellent songs, like the title song "Burn" among others. There's one worthless piece, the intrumental "'A' 200."

Verdict: if you must have an MK-3 album, get this one.

 

Stormbringer (1974)

The second of the two MK-3 studio installments. The downward spiralling has begun and the marginalization of Blackmore is evident in this album. The guitarist would leave before the next album. A lot of boring blues with some funky (?!) grooves thrown in for bad measure. There's way too much of the intolerable Hughes' wailing and except the excellent title song and the bearable "Soldier of Fortune," the rest of the album would be forgettable if it wasn't for the band that produced it. An innocuous decision to put "The Gypsy" and "Soldier of Fortune" together proves to be a grave tactical error because the two back to back ballads unbalance the album. This is something that never would have happened with MK-2.

Verdict: if two out of nine songs is worth your money, get it.

 

Come Taste the Band (1975)

Just when I thought things couldn't possibly get any worse, Blackmore's departure from Purple and the Lord/Paice decision to try without him, proved me wrong. Another annoying bastard had joined the other two bastards to form MK-4 and completely ruin what once was a great band. Thankfully, the guy died of overdose before they could release another abomination (he was so stoned at one of the concerts I saw that he couldn't even play the riff on "Smoke on the Water"). A quick look at the writing credits on the album shows the culprit of the problem (much like it does for "Stormbringer"). All songs are written by Bolin/Coverdale/Hughes, the unholy trinity. Apparently Lord and Paice just wanted to cash in on old glory, their only contribution to this album is mechanical. There are several okay songs here, like "Comin' Home" and "Drifter" but the rest is execrable. This is not even hard rock anymore and whatever it is, it ain't Purple and it ain't good. The cover depicts the band's faces in a glass of cheap wine, an apt illustration.

Verdict: an historical aberration that happens to have Deep Purple stamped on the cover.

 

Perfect Strangers (1984)

We're back to MK-2 and the debut album after the disbanding in 1976 isn't as bad as one may think. Usually great bands reform for one reason only -- money -- and this is no exception. However, the album is actually quite good, especially if you forego the unavoidable comparisons with the "golden period" in the 1970s. Some refreshing music here and one of my favorite songs, "A Gypsy's Kiss." Not to mention the cool futuristic video clip for "Knocking at Your Back Door" which sports creepy rockers riding motorcycles in some indeterminate but bleak future. The title song is also quite good (compare to Type O Negative's Mortal Kombat mix of "Blood and Fire" which shamelessly steals the keyboard intro). A surprisingly moving "Wasted Sunsets" is followed by an aggressive "Hungry Daze" which apparently made a preferred concert choice for the band. Gillan sounds refreshingly clean after his fiasco with Gillan and Ian Gillan Band. I am not sure I was happy with Blackmore disbanding Rainbow to go back to Purple, but this album is a partial relief.

Verdict: a good piece of music, get it.

 

Purpendicular (1996)

I had vowed never to purchase a so-called Deep Purple release after "The House of Blue Light" which I happen to have on Bulgarian vinyl (yuick) along with a Greek "Nobody's Perfect" live album. I am still hesitant about acquiring those on CD but I caved in and bought the 1996 release for a few bucks. It was worse than I had thought. An utterly worthless, deplorable, despicable, and forgettable piece of crap. I am keeping it as a reminder not to get anything the band comes out with. It is obvious the band's energies are spent, maybe they should turn to a different style (a-la Blackmore's folk experiments) or quit altogether. It is hard to believe this band has anything to do with the outfit that put out "Machine Head." What a shame. I have stopped following their career even nominally.

Verdict: don't ever buy this, ever.

 
The glory days.