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DEEP PURPLE

Proto-Prog • United Kingdom


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Deep Purple picture
Deep Purple biography
Founded in Hertford, UK in 1968 - Hiatus between 1976-1984 - Still active as of 2018

The archetypal hard rock band, hugely influential, and still alive and well after almost 40 years, DEEP PURPLE were formed in Hertford (England) in 1968. Their earliest line-up (known as Mark I) featured guitarist Ritchie BLACKMORE, drummer Ian Paice (who was to be the only constant member in all the numerous incarnations of the band), keyboardist Jon LORD, bassist Nick Simper and vocalist Rod Evans. Their first album, "Shades of Deep Purple", included a cover of JOE SOUTH's "Hush", which became a big hit in the USA. The following two efforts were definitely more progressive in tone, especially their third, self-titled album, which saw Lord's masterful, classically-influenced use of the B3 Hammond organ steal the limelight.

In 1969, Evans and Simper were fired, to be replaced by two former Episode Six members, bassist Roger Glover and legendary vocalist Ian Gillan, who had also starred in the lead role in the original version of Andrew Lloyd-Webber and Tim Rice's "Jesus Christ Superstar". This line-up, which is widely known as DEEP PURPLE Mark II, gave the band international renown - even though their first album, Lord's pet project "Concerto for Group and Orchestra" (recorded with the Royal Philharmonic Orchestra) was poorly received.

With Gillan and Glover on board, DEEP PURPLE recorded a series of extremely successful albums, which saw them blend the progressive stylings of their first three albums with an increasingly harder-edged approach, like 1970' ground-breaking "In Rock". Their sound featured lengthy, dazzling duels between Lord's Hammond and Blackmore's Stratocaster, punctuated by Gillan's sky-high screams - nowhere better embodied than in their stunning, 1972 live album, "Made in Japan". In the same year, they released "Machine Head", one of the essential rock albums of all time, which featured the seminal riff of "Smoke on the Water" (inspired by a true episode happened during the recording of the album itself in Montreux, Switzerland), as well as other classics such as "Highway Star" and "Space Truckin'".

Unfortunately, ego clashes and differences in musical direction caused the departure of both Gillan and Glover, who were replaced by an already established musician (also posse...
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DEEP PURPLE Videos (YouTube and more)


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Buy DEEP PURPLE Music


The Very Best of Deep PurpleThe Very Best of Deep Purple
Remastered
Warner Archives / Rhino 2000
$8.98
$2.98 (used)
Machine HeadMachine Head
Universal 2015
$5.10
$7.47 (used)
In Rock: Anniversary EditionIn Rock: Anniversary Edition
Remastered
EMI 1995
$5.73
$2.25 (used)
Burn (Expanded & Remastered)Burn (Expanded & Remastered)
CD-ROM
Rhino/Warner Bros. 2005
$11.09
$9.00 (used)
Perfect Strangers (Remastered)Perfect Strangers (Remastered)
Remastered · Extra tracks · Reissued
Mercury 1999
$5.10
$3.17 (used)
Deep PurpleDeep Purple
Emi Europe Generic 2015
$5.28
$7.02 (used)
Live In Newcastle 2001Live In Newcastle 2001
EARMUSIC 2019
$10.99
$10.96 (used)
Fireball: 25th Anniversary (eng)Fireball: 25th Anniversary (eng)
Limited Edition · Remastered
Emd Int'L 2015
$5.04
$3.82 (used)
Shades of Deep PurpleShades of Deep Purple
Eagle Records 2011
$7.96
$11.33 (used)
inFinite (Gold Edition)inFinite (Gold Edition)
EARMUSIC 2017
$5.39
$10.14 (used)
Right Now on Ebay (logo)
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Deep Purple - Paris 1975 NEW CD USD $5.95 Buy It Now 1h 49m
Deep Purple Vinyl Album The Book of Taliesyn Tetragrammaton T-107 USA 1968 USD $12.99 Buy It Now 2h
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Deep Purple - Laserdisc 8" CD-VIDEO - THE VIDEO SINGLES UK 1987 - 080 390-9 USD $24.29 Buy It Now 2h 58m
Made In Japan (2014 Remaster) by Deep Purple. USD $15.71 Buy It Now 3h 7m
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DEEP PURPLE CONCERTO FOR GROUP AND ORCHESTRA LP HARVEST UK 1970 NO EMI A1/B1 USD $48.56 Buy It Now 3h 26m
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Deep Purple in Rock by Deep Purple (CD, Warner Bros.) USD $0.99 [1 bids]
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PROMO LABEL / PHENOMENA II DREAM RUNNER / UN-PLAYED Deep Purple Asia ELP Whitesn USD $149.99 Buy It Now 4h 3m
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Deep Purple in Rock USD $23.06 Buy It Now 5h 54m
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DEEP PURPLE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DEEP PURPLE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.29 | 526 ratings
Shades Of Deep Purple
1968
3.20 | 512 ratings
The Book Of Taliesyn
1968
3.61 | 590 ratings
Deep Purple
1969
4.34 | 1159 ratings
Deep Purple In Rock
1970
3.76 | 812 ratings
Fireball
1971
4.32 | 1168 ratings
Machine Head
1972
3.01 | 538 ratings
Who Do We Think We Are
1973
3.84 | 793 ratings
Burn
1974
3.06 | 593 ratings
Stormbringer
1974
3.20 | 491 ratings
Come Taste The Band
1975
3.49 | 585 ratings
Perfect Strangers
1984
2.85 | 367 ratings
The House Of Blue Light
1987
2.71 | 307 ratings
Slaves And Masters
1990
2.75 | 327 ratings
The Battle Rages On...
1993
3.68 | 385 ratings
Purpendicular
1996
2.81 | 282 ratings
Abandon
1998
3.01 | 309 ratings
Bananas
2003
3.32 | 307 ratings
Rapture Of The Deep
2005
3.91 | 320 ratings
Now What?!
2013
3.57 | 101 ratings
InFinite
2017

DEEP PURPLE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.20 | 287 ratings
Concerto for Group and Orchestra
1969
4.51 | 666 ratings
Made In Japan
1972
3.78 | 100 ratings
California Jamming
1974
3.43 | 206 ratings
Made In Europe
1976
2.10 | 71 ratings
Last Concert In Japan
1977
4.37 | 128 ratings
Deep Purple In Concert
1980
3.33 | 63 ratings
Live in London
1982
3.19 | 64 ratings
Scandinavian Nights (AKA Live and rare)
1988
2.84 | 86 ratings
Nobody's perfect
1988
3.39 | 30 ratings
In The Absence Of Pink: Knebworth 85
1991
3.92 | 43 ratings
Gemini Suite
1993
4.20 | 72 ratings
Live In Japan
1993
3.38 | 76 ratings
Come Hell Or High Water
1994
4.57 | 7 ratings
On Stage: Black Night
1994
4.57 | 7 ratings
On Stage: Highway Star
1994
4.29 | 7 ratings
On Stage 1970 -1985
1994
3.61 | 30 ratings
Live in California 1976: On the Wings of a Russian Foxbat
1995
3.24 | 17 ratings
King Biscuit Flower Hour Presents Deep Purple In Concert
1995
3.41 | 20 ratings
MK III The Final Concerts
1996
3.70 | 46 ratings
Live At The Olympia 96
1997
3.25 | 73 ratings
In Concert With the London Symphony Orchestra
1999
3.91 | 23 ratings
Total Abandon
1999
2.48 | 23 ratings
This Time Around: Live in Tokyo '75
2000
4.17 | 6 ratings
Australian Tour 2001 - Wollongong
2001
3.38 | 13 ratings
Live At The Rotterdam Ahoy
2001
3.28 | 10 ratings
Kneel & Pray
2001
2.03 | 14 ratings
Space Vol 1&2 - Live in Aachen 1970
2001
3.36 | 14 ratings
Inglewood - Live in California 1968
2002
3.94 | 17 ratings
Live in Denmark 1972
2002
3.88 | 8 ratings
Perks And Tit
2004
3.64 | 28 ratings
Live In Paris 1975: La Dernière Seance
2004
3.07 | 5 ratings
Deep Purple with the London Symphony Orchestra and friends
2005
4.40 | 5 ratings
Australian Tour 2001 - Newcastle
2005
3.22 | 13 ratings
Live in Europe
2006
3.73 | 32 ratings
Montreux 1996
2006
3.83 | 23 ratings
Live at Montreux 2006
2007
4.29 | 7 ratings
Live at Montreux and in Concert
2007
2.69 | 14 ratings
NEC 1993
2007
3.76 | 21 ratings
Deep Purple with Orchestra - Live at Montreux 2011
2011
3.43 | 21 ratings
BBC Sessions 1968-1970
2011
4.44 | 25 ratings
Perfect Strangers Live
2013
4.00 | 1 ratings
The Now What?! Live Tapes
2013
3.84 | 19 ratings
The Official Deep Purple (Overseas) Live Series: Graz 1975
2014
4.16 | 19 ratings
Long Beach 1971
2015
4.14 | 14 ratings
From the Setting Sun... (In Wacken)
2015
4.00 | 12 ratings
...To the Rising Sun (In Tokyo)
2015
4.33 | 3 ratings
Long Beach 1976
2016
4.00 | 1 ratings
The Infinite Live Recordings Vol.1
2017

DEEP PURPLE Videos (DVD, Blu-ray, VHS etc)

2.54 | 9 ratings
Rises Over Japan
1976
4.20 | 10 ratings
The Videosingles
1987
4.64 | 11 ratings
Doing Their Thing
1990
4.22 | 9 ratings
Heavy Metal Pioneers
1992
4.41 | 17 ratings
Scandinavian Nights
1992
3.67 | 37 ratings
In Concert With The London Symphony Orchestra
1999
4.18 | 14 ratings
Total Abandon
1999
4.02 | 11 ratings
Bombay Calling
2000
4.33 | 3 ratings
Around the World 1995-1999
2000
3.93 | 14 ratings
New, Live & Rare - The Video Collection 1984-2000
2001
4.01 | 47 ratings
Come hell or high water
2001
4.21 | 38 ratings
Concerto For Group And Orchestra
2002
4.14 | 20 ratings
Perihelion
2002
3.63 | 31 ratings
Machine Head - Classic Albums
2002
4.60 | 10 ratings
Masters From the Vaults
2003
4.56 | 9 ratings
Live Encounters
2004
3.74 | 9 ratings
Rock Review 1969-1972
2004
3.63 | 8 ratings
Deep Purple's Made In Japan (Rock Milestones)
2005
4.78 | 44 ratings
"Live in concert 1972/73"
2005
4.14 | 37 ratings
Live in California 74
2006
3.29 | 5 ratings
Reflections
2006
4.10 | 23 ratings
Live At Montreux 2006
2007
4.44 | 9 ratings
Around The World Live Boxset
2008
4.60 | 5 ratings
Stormbringers - The Inside Story
2008
4.67 | 21 ratings
History, Hits, & Highlights
2009
4.00 | 16 ratings
Phoenix Rising
2011
4.80 | 10 ratings
Deep Purple with Orchestra - Live at Montreux 2011
2011
4.38 | 23 ratings
Perfect Strangers Live
2013
4.22 | 9 ratings
Deep Purple with Orchestra - Live In Verona
2014
4.44 | 9 ratings
From the Setting Sun... (In Wacken)
2015
4.60 | 10 ratings
...To the Rising Sun (In Tokyo)
2015

DEEP PURPLE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.50 | 6 ratings
Best of Deep Purple
1970
4.15 | 14 ratings
Purple Passages
1972
4.40 | 15 ratings
Mark I & II
1973
3.35 | 46 ratings
24 Carat Purple
1975
3.32 | 22 ratings
Powerhouse
1977
3.19 | 14 ratings
When We Rock, We Rock, and When We Roll, We Roll
1978
4.33 | 24 ratings
The Singles A's and B's
1978
4.30 | 10 ratings
The Mark 2 Purple Singles
1979
2.93 | 64 ratings
Deepest Purple - The Very Best Of Deep Purple
1980
4.50 | 6 ratings
Fireworks
1985
4.29 | 7 ratings
Greatest Purple
1985
4.00 | 1 ratings
The Anthology
1985
4.00 | 1 ratings
The Best Of Deep Purple
1987
4.50 | 4 ratings
Black Night - Best
1990
2.82 | 14 ratings
Knocking At Your Back Door: The Best Of Deep Purple In The 80s
1991
3.00 | 1 ratings
The Best of Deep Purple In Brazil
1991
3.89 | 18 ratings
The Compact Disc Anthology
1991
1.68 | 9 ratings
Progression
1993
4.09 | 16 ratings
The Deep Purple Singles A's and B's
1993
4.33 | 3 ratings
I Successi
1993
4.40 | 5 ratings
Soldier of Fortune: The Greatest Hits
1994
3.18 | 9 ratings
Smoke On The Water - The Best Of
1994
3.86 | 7 ratings
Child in time 1984-88
1995
4.25 | 4 ratings
The Collection
1997
2.19 | 11 ratings
Purplexed
1998
2.50 | 34 ratings
30: Very Best Of
1998
3.20 | 6 ratings
Under The Gun
1999
4.38 | 8 ratings
Shades 1968-1998 boxset
1999
3.65 | 5 ratings
Anthems
2000
4.00 | 5 ratings
Extended Versions
2000
3.12 | 12 ratings
The Very Best of Deep Purple
2000
4.08 | 6 ratings
On the Road
2001
4.33 | 6 ratings
The Soundboard Series
2001
4.60 | 5 ratings
Collectors Edition - The Bootleg Series 1984-2000 (12 CD)
2001
4.50 | 4 ratings
Very Best Deep Purple Album Ever
2001
4.00 | 6 ratings
In Profile
2001
4.67 | 12 ratings
Listen Learn Read On
2002
3.37 | 8 ratings
20th Century Masters: The Best of Deep Purple
2002
4.00 | 8 ratings
Singles Collection 68/76
2002
4.50 | 4 ratings
Winning Combinations split CD
2003
4.50 | 4 ratings
The Essential
2003
4.67 | 6 ratings
Purple Hits - The Best of Deep Purple
2003
2.56 | 8 ratings
The Early Years
2004
4.08 | 13 ratings
The Platinum Collection
2005
4.50 | 4 ratings
The Ultra Selection
2005
1.73 | 4 ratings
The Deep Purple Collection
2006
3.50 | 5 ratings
Higway Stars
2006
3.36 | 5 ratings
Greatest Hits (Steel Box Collection)
2008
3.00 | 1 ratings
Gold - Greatest Hits
2009
4.56 | 9 ratings
Singles & E.P. Anthology 1968-1980
2010
3.00 | 1 ratings
Essential
2011
4.00 | 1 ratings
The Deep Purple Collection
2011
4.45 | 11 ratings
Now What?! (Gold Edition)
2013
4.25 | 8 ratings
Hard Road: The Mark 1 Studio Recordings 1968-69
2014
5.00 | 1 ratings
The Vinyl Collection
2016
4.00 | 4 ratings
A Fire in the Sky
2017
3.00 | 1 ratings
Classic Songs Live in Concert
2017

DEEP PURPLE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.56 | 17 ratings
Hush / One More Rainy Day
1968
3.64 | 11 ratings
Kentucky Woman / Hard Road
1968
3.26 | 12 ratings
Emmaretta / The Bird Has Flown
1969
3.36 | 11 ratings
River Deep Mountain High / Listen, Learn, Read On
1969
3.32 | 15 ratings
Hallelujah (I am the preacher) / April (part one)
1969
4.52 | 21 ratings
Black Night/Speed King
1970
4.20 | 15 ratings
Speed King / Into the Fire
1970
2.61 | 9 ratings
Deep Purple In Rock
1970
4.09 | 18 ratings
Strange Kind Of Woman/I'm Alone
1971
4.20 | 15 ratings
Fireball
1971
4.00 | 9 ratings
April
1972
4.58 | 12 ratings
Black Night
1972
3.47 | 15 ratings
Never Before / When a Blind Man Cries
1972
4.50 | 16 ratings
Highway Star
1972
3.80 | 10 ratings
Super Trouper / Blood Sucker
1973
4.18 | 11 ratings
Woman from Tokyo
1973
4.56 | 16 ratings
Smoke On The Water
1973
4.29 | 14 ratings
Burn
1974
3.90 | 10 ratings
Might Just Take Your Life
1974
3.50 | 10 ratings
Lady Double Dealer
1974
3.50 | 8 ratings
You Can't Do It Right / High Ball Shooter
1974
3.91 | 11 ratings
Stormbringer
1975
4.00 | 8 ratings
You Keep on Movin'
1975
4.30 | 10 ratings
Child In Time / Smoke On The Water / Fireball
1975
4.00 | 6 ratings
New Live & Rare Vol. 2
1976
3.63 | 8 ratings
El vuelo del pajaro (The Bird Has Flown)
1977
4.00 | 6 ratings
New Live & Rare
1977
4.22 | 9 ratings
Black Night
1978
4.25 | 8 ratings
Burn
1980
3.83 | 6 ratings
New Live And Rare Vol.3
1980
4.18 | 11 ratings
Knocking At Your Back Door
1984
3.89 | 9 ratings
Nobody's Home
1984
4.23 | 13 ratings
Perfect Strangers
1984
4.14 | 7 ratings
Deep Purple
1984
3.80 | 5 ratings
Off the Record Special with Mary Turner
1985
4.14 | 7 ratings
Smoke On The Water / Living Wreck / No, No, No
1985
4.17 | 6 ratings
Black Night
1985
3.29 | 8 ratings
Bad Attitude
1987
4.14 | 7 ratings
Call of the Wild
1987
3.25 | 8 ratings
Hush
1988
3.25 | 8 ratings
Love Conquers All
1990
4.00 | 9 ratings
King of Dreams
1990
5.00 | 1 ratings
Fire in the Basement
1990
4.00 | 1 ratings
Tour Brasil '91
1991
2.59 | 8 ratings
The Battle Rages On
1993
4.00 | 8 ratings
Anya
1993
3.71 | 7 ratings
Time to Kill
1993
3.71 | 7 ratings
Talk About Love
1993
4.00 | 5 ratings
Anyone's Daughter / Speed King
1994
4.25 | 8 ratings
Black Night
1995
3.25 | 4 ratings
Aviator
1996
2.75 | 4 ratings
Hey Cisco
1996
4.59 | 8 ratings
Sometimes I Feel Like Screaming - Vavoom: Ted The Mechanic
1996
2.00 | 2 ratings
The Turtle Island Shuffle
1996
2.75 | 4 ratings
Don't Hold Your Breath
1996
3.40 | 5 ratings
Any Fule Kno That
1998
2.75 | 4 ratings
Don't Make Me Happy
1998
2.75 | 4 ratings
Whatsername
1998
4.00 | 4 ratings
Black Night (live Australia 1999)
1998
3.25 | 4 ratings
Smoke on the Water (live '99)
1999
2.83 | 21 ratings
Days May Come and Days May Go: The 1975 California Rehearsals
2000
4.00 | 10 ratings
1420 Beachwood Drive: The California Rehearsals Pt 2
2000
4.00 | 1 ratings
House of Pain
2003
4.00 | 1 ratings
Haunted
2003
3.33 | 6 ratings
Rapture Of The Deep
2005
3.00 | 3 ratings
Rhino Hi-Five: Deep Purple
2005
3.67 | 6 ratings
Well Dressed Guitar
2005
3.50 | 2 ratings
Encore: Lucille / Maybe I'm a Leo
2012
3.50 | 6 ratings
All The Time In The World
2013
4.00 | 1 ratings
Vincent Price
2013
4.00 | 1 ratings
Above and Beyond
2013
5.00 | 1 ratings
Hell to Pay
2013
4.00 | 1 ratings
Out of Hand
2015
4.00 | 2 ratings
Johnny's Band
2017
4.10 | 10 ratings
Time For Bedlam
2017
4.00 | 9 ratings
All I Got Is You
2017
4.00 | 5 ratings
Limitless
2017

DEEP PURPLE Reviews


Showing last 10 reviews only
 Stormbringer by DEEP PURPLE album cover Studio Album, 1974
3.06 | 593 ratings

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Stormbringer
Deep Purple Proto-Prog

Review by TCat
Collaborator Eclectic Team

2 stars Stormbringer was Deep Purple's 9th full length album, and saw the band move more towards a funky sound, but retaining the hard-rock, blues inspired sound that they had in 'Burn'. This was also the 2nd album to feature David Coverdale as the lead singer as he replaced Ian Gilian as the lead singer. Ian, of course, would eventually sign up with Black Sabbath for one album, 'Born Again' and eventually reunite with Deep Purple in 1984 for the album 'Perfect Strangers'.

Stormbringer ended up being a fairly successful album, though it was a bit weaker than previous efforts. The long, jam-like sessions of the past were gone and were replaced with songs that were more vocally heavy and more basic hard rock tunes. Even though it was early for hair metal (the album was released in 1974), it seems to take on that style more than the psychedelic rock of their earlier albums.

Even though the mainstays Ritchie Blackmore, Ian Paice and Jon Lord were still in the band, it seems their influence was heard much less on this album. The album seems to be directed more towards Coverdale's one-dimensional vocals, but at least Glenn Hughes' vocals were also used fairly extensively on many tracks, it helped give a bit more variety to the album. Unfortunately, for Coverdale, that variety didn't follow him when he left Deep Purple in tears after the release of their following album 'Come Taste the Band' which saw the downfall of the popularity of the band as they continued to chase the more accessible sound of hard funk, sounding more like Grand Funk than anything else, a bad version of Grand Funk that is. Of course, Coverdale would see success with Whitesnake in the 80s, as his hair metal dreams came true. But then, I've never really been a fan of Coverdale as he seems to turn bands he is involved with towards a more commercial sound that is as one-dimensional as his voice.

Stormbringer, however, isn't a complete wash. The other band members still have some chances to show off, like Lord's organ solo in 'High Ball Shooter'. But unfortunately, most of the tracks have Coverdale's annoying vocals (like in the awful 'The Gypsy') that end up making the songs of the album sound too much alike. One of the main reasons I liked Deep Purple was because of their heavy rocking instrumentals and psychedelic leanings. This album just about totally goes against that sound, and Deep Purple just sounds like every other mediocre hard rock band. What might have been a great album only becomes an average one. After the next album, the band would basically fall apart until finally in 1984, they come out of hiding and emerge from the dregs of hair metal to produce a better album with the return of Ian and the release of 'Perfect Stranger.'

 Bad Attitude by DEEP PURPLE album cover Singles/EPs/Fan Club/Promo, 1987
3.29 | 8 ratings

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Bad Attitude
Deep Purple Proto-Prog

Review by patrickq

3 stars Mercury ‎PRO 473-1 was a 12" vinyl (33⅓ RPM) promotional single published in the US in 1987. The LP version of "Bad Attitude" appears on both sides. (This version differs a bit from the commercial 7" 45 RPM single, Mercury ‎885 820-7: "Bad Attitude (edit)" b/w "Black & White")

Just as Yes had borrowed Andy Summers's arpeggiated guitar from "Every Breath You Take" (1983) for their own #1 hit "Owner of a Lonely Heart" (1984), Yes's fellow 70s UK rockers Deep Purple borrowed heavily from "Owner" for "Bad Attitude."* The bass and guitar parts in the verses are very similar to "Owner," although the vocal melody is different. Even more blatant is the second guitar solo (2:52-3:26), during which Ritchie Blackmore, playing a guitar with a harmonizer effect, shreds over a clean bassline and drums, without a rhythm guitar part - - Just as Trevor Rabin had on "Owner of a Lonely Heart."

The verses, choruses, and that second guitar solo comprise the lion's share of "Bad Attitude." They're hard-rocking, telling the tale of a guy who's been stepped on one to many times. He demands to be treated as a person, which hasn't been the case up until now. As he says, "things have got to change." This is, of course, the approximate theme of every other 1980s rock song. What makes "Bad Attitude" special are three instrumental sections. The tune begins with Jon Lord's ominous organ which goes through a couple of chords before resolving after around twenty seconds. Bridging this section into the song proper are a couple of syncopated drum/bass/guitar double hits. This brief, foreboding prelude fits the song well, even if it is an atypical way to start a late-1980s AOR song.

Then there's the first guitar solo (beginning at 2:30), which doubles as an instrumental bridge. Although the song doesn't change key or tempo here, the atmosphere shifts a bit. Whereas, based on the chorus, the listener anticipates that this section will start on a B-major chord, it turns out to be A-major. This retrogradation, along with a change in the drum pattern, creates the sense that the song has slowed down a bit, ushering in a relatively contemplative guitar solo. A reprise of the syncopated motif from the intro brings back the song proper.

At the four-minute mark, just as the last chorus has wrapped up, we finally have incontestable truth that this is an art-rock song. The outro shifts to 12/4 time and the guitar evaporates along with the vocals. In their place is a synthesized string section playing a nicely orchestrated, slightly dramatic rhythm. Drummer Ian Paice punctuates the end of each twelve-measure passage with a drum fill as the song fades out.

Overall, "Bad Attitude" is a solid track, very much in line with 1987-vintage AOR, but with some nice prog flourishes.

* in 1988, Bad Company slowed down and altered the main riff of "Owner" for "No Smoke Without a Fire;" Yes themselves had done the same thing the prior year with "Big Generator."

 Deep Purple by DEEP PURPLE album cover Studio Album, 1969
3.61 | 590 ratings

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Deep Purple
Deep Purple Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars DEEP PURPLE's Mark I lineup lasted only two short years but the band still managed to record three full albums, tour extensively and release a handful of singles, one of which "Hush" from the debut album "Shades Of Deep Purple" becoming a surprise hit and hitting the top 5 on the American Billboard charts. And consequently, due to that very success, the band members were constantly under pressure to repeat the pop hit formula however the musicians themselves wanted something else entirely. And such was the nature of the music business which meant that there had to be a middle ground between the ambitious progressive rock fusion with classical music and the more simplified pop hook tracks that could generate some income for a poorly managed Tetragrammaton Records that would soon fold and be absorbed by Warner Bros.

Despite the short time playing together, the band had evolved quite a bit since their nascent recordings in early 1968 and by the time the quintet of Rod Evans (lead vocals), Ritchie Blackmore (guitars), Jon Lord (keyboards, organs, piano), Nick Sempler (bass) and Ian Paice (drums, percussion) had reached their third album simply titled DEEP PURPLE also called DEEP PURPLE III, the band had unknowingly hit upon one of the great sounds in all of rock music. It's just that they didn't know that quite yet and would have to go through a few changes before superstardom would come knocking at their back door. Graced by an eerie amalgamation of characters on the Hieronymous Bosch cover art, so too does the music on this third installment of the DEEP PURPLE universe imbibe the many nectars of the musical world and because of that remains the band's most diverse and unique albums of the entire multi-decade canon.

The album was preceded by the non-album single "Emmarretta" which was hoped to generate enough interest to promote the album but the single failed to match the success of "Hush" and fell by the wayside rather quickly and likewise the third album sold rather poorly which prompted the dualistic talent of Jon Lord and Ritchie Blackmore to think about the changes that were needed to take the music to the next level, that of a more streamlined hard rock approach. This was a tumultuous time as the duo had to assemble a new lineup of DEEP PURPLE behind the scenes while carrying on the business as usual as they toured the US after having finally found some modicum of interest in their native UK. It was decided that Evans didn't have the vocal chops to take the music to the next level, an unfortunate limitation made all the clearly on this third album where the music had evolved into more progressive heights but the vocals didn't and kept the album from reaching the pinnacle of its potential. Likewise friction existed with Simper.

While steeped in both the 60s psychedelia blues rock riffing and classical expressionism, DEEP PURPLE III served as more than a transitional album for the Mark II lineup just around the corner but rather allowed the band to go hog wild experimenting with all kinds of different sounds possibly hoping throwing enough spaghetti against the wall that something would stick. The introductory "Chasing Shadows" prognosticates the DEEP PURPLE to come with a heavier guitar presence than on the previous two albums. Blackmore was clearly coming to fruition as a top tier guitarist and was beginning to display more ambitious speedy solos as well as a wealth of wah-wah effects which made it clear the heavier side of rock was where this band was heading. Likewise Ian Paice's drumming skills were finally let off the leash as he delivered a powerful bombastic African rhythmic fusion style present on the opening track that pummels the senses in an almost Santana like freneticism.

With bands like King Crimson and The Nice upping the ante in more adventurous arenas for rock, DEEP PURPLE were hot on their heels and on this third album demonstrate remarkably how they easily could've gone the progressive rock route in lieu of the less angular hard rock that they opted for. While "Blind" seems to revert to a couple years prior with a distinct Procol Harum type of softness clearly rooted in the 60s, Lord manages to crank out some stellar classical piano runs and Blackmore unleashes his own guitar tricks. This track in retrospect shows how the two main members were quickly outgrowing the limitations of the current lineup. Likewise the Donovan cover "Lalena" also keeps the band firmly placed in the 60s sound complete with those period organs. The album doesn't really come to life until the excellent instrumental "Faultline" cranks out the backmasking as a rhythmic instrument and serves as an intro for "The Painter" which cranks out a killer blues rock riff and organ mix that start to sound a bit like the Mark II stylistic shift but anchored into the past by Evans' relaxed vocal style. Paice is phenomenal in how he can produce a mood solely with his percussive drive.

Likewise "Why Didn't Rosemary?" and "BIrd Has Flown" both display a mature sound for the band's rhythm section as the guitar, bass, organs and drums have found their own spaces that inch even closer to the Mark II style. It now becomes obvious that Evans had to go as you can imagine Gillan screaming out a more sophisticated singing style complete with more emotive utterances. The cream of the crop for DEEP PURPLE III is the almighty progressive closer "April" which which was Jon Lord's dream come true as far as the perfect classical and rock hybridization. While the band had structured their compositions to include classical interludes and underpinnings, "April" went all the way in creating a perfect harmonizing melodic construct of classical music mixed with progressive rock that even included a complete string section to accompany the rock aspects. This sort of style was en vogue at this point in early prog nascency but nothing The Nice cranked out approached the magnanimous nature of this beautiful piece. Even Evans seems to have stepped up to add some of his best vocals on the album and what a fabulous way to end this phase of DEEP PURPLE before the change.

While the Mark I lineup continued to play, Blackmore and Lord were already rehearsing new material with new lead singer Ian Gillan and bassist Roger Glover leaving Evans and Simper in the dark about the numbered days and unfortunately the two found out through the grapevine and didn't exactly exit on good terms. While Evans would go on to sing lead for Captain Beyond and Simper would start Warhorse, the true winners were DEEP PURPLE themselves which under the Mark II lineup would become superstars and one of the most popular bands in rock history. The Mark I phase is certainly a precarious time for the origins of one of rock's most celebrated musical talents and although these early albums are hardly perfect, they were quite innovative for the time and despite the uneven quality of the tracks and inferior talent of certain members still managed to crank out some timeless music. Whether its for historical curiosity or for the love of early proto-prog and metal, then sampling the 60s nectar of this phase of DEEP PURPLE is mandatory and this third installation of the Mark I lineup is perhaps the band's most accomplished. Essential? Not really, but a fascinating album nonetheless with certain moments that are mind blowing.

3.5 stars but rounded down

 Fireball by DEEP PURPLE album cover Studio Album, 1971
3.76 | 812 ratings

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Fireball
Deep Purple Proto-Prog

Review by mohaveman

3 stars Lots of hard rock, some blues, some funkiness, and a dash of prog here and there...

FIREBALL is not the best effort of the Mark II Deep Purple lineup but it has some good tunes on it, along with some lesser efforts. The highlights are "Fireball", "The Mule" and "No No No". There is some experimentation of a kind of proggy way, but the majority of this album is firmly set in the Deep Puple trademarks of hard rocks and blues with a bit of funk thrown in. Apparently, Ian Gillian has said that this is one of his favorite DP albums.

It is hard to rate it on a prog site, but I would give it a firm 2 1/2 stars and round it up to a 3 star rating based on "The Mule" and the title track.

 Hush / One More Rainy Day by DEEP PURPLE album cover Singles/EPs/Fan Club/Promo, 1968
2.56 | 17 ratings

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Hush / One More Rainy Day
Deep Purple Proto-Prog

Review by mohaveman

2 stars Two songs taken from Deep Purple's debut album, SHADES OF DEEP PURPLE released in 1968. This features the Mark 1 lineup of the band with Blackmore, Evans, SImper, Paice, and Lord. While I appreciate the vocal talents of Jon Evans, I still prefer Ian Gillian. Side 1 is "Hush", a full out rocker which is one of my favorite DP tracks. Side 2 gives us a more mellow, and basically very 1960's flavored "One More Rainy Day". This song reminds me of THE MOODY BLUES or THE MOVE. There is not much Progressive about these songs. In a strictly rock and roll context I would give "Hush" 4 stars and the flip side 3 stars. But, as this is a Prog page, 2 stars seems about right.
 Machine Head by DEEP PURPLE album cover Studio Album, 1972
4.32 | 1168 ratings

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Machine Head
Deep Purple Proto-Prog

Review by The Jester

4 stars Review # 100. One of the albums that considered as a major influence for the birth of Heavy Metal music is this one. (Together with Black Sabbath's and Led Zeppelın's first albums).

Machine Head was released on March 1972. It was the 6th studio album of Deep Purpl, and their most successful by far. Upon its release, it went straight to No.1 on the album charts in many countries, including UK, Australia, Germany and Canada. In the UK charts, it reached No.1 on the first week of its release and stayed at the top 40 for 20 weeks. In the USA Billboard charts, it reached No.7 and stayed at the top 200 for 118 weeks.

Machine Head was recorded in Switzerland during the winter of 1971 while the band was staying at the Casino hotel there. One night a big fire burst and a part of the hotel was destroyed. Without this incident, probably one of the most and famous songs of Rock music wouldn't have been recorded. And that's no other than Smoke on the Water. Another interesting information about this record (confirmed by R. Blackmore) is that a part of the guitar solo in 'Highway Star' was inspired by the 18th century composer J. S Bach.

The album contains 7 songs and almost all of them will become a 'must' in Deep Purple concerts, and secure a place in almost every Deep Purple's 'Best of' compilation in the years to come... Take a look: Smoke on the Water, Highway Star, Lazy, Never Before, Space Truckin'...

I have to admit that I was never a fan of Deep Purple, and especially in the period with Ian Gillan as the singer (I always liked David Coverdale's voice more). But this record is a cornerstone for every rock discography!

If someone would ask me to recommend the 10 first records to buy in order to start a decent Rock collection, for sure 'Machine Head' would be one of them. 4 stars

 The Book Of Taliesyn by DEEP PURPLE album cover Studio Album, 1968
3.20 | 512 ratings

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The Book Of Taliesyn
Deep Purple Proto-Prog

Review by TCat
Collaborator Eclectic Team

3 stars Deep Purple's 2nd studio album "Book of Taliesen" was released in 1968, recorded only 3 months after their debut album's release "Shades of Deep Purple". Even though the band at that time was not having successful record sales, the record company could see the dollar signs because their concerts were well attended and they were considered one of the top underground bands. The band blamed the record company that they didn't know how to sell records. Of course, we all know that later they became megastars, but for now, they were just trying to discover their sound.

The line up of the band during this time, remained the same for their first 3 albums which were all recorded and released within a year's time. The lead singer at the time was Rod Evans, who in 1980, during the band's first hiatus, tried to tour under the name Deep Purple and was sued for it to the current equivalency of two million dollars. After this, Rod has never appeared in public and has faded into obscurity. It was after his departure that Deep Purple really became popular, and the lead singer at that time, Ian Gillian, was the one that carried the signature DP sound during the height of their popularity. But for now, we have to be satisfied with Rod Evans.

For this album, the sound is very psychedelic and their target market was the hippies. The sound is similar to "Vanilla Fudge" and that seems to be the style they were shooting for at the time. This comes instantly apparent in the first track "Listen, Learn, Read On". The vocals are spoken on the verses and sung on the choruses with a lot of reverb. The music is strong psychedelic rock and unpolished, but that give it a certain charm and mysteriousness. I remember turning in several potato chip bags to get 10 free singles which I had to send in for, and this was one of the singles which was released with "River Deep Mountain High". I wish I still had that because it's probably worth a lot now. As a 10-year-old child who barely had any musical knowledge, I found this song very interesting and was curious about it, but I didn't dare turn it up too high because my parents might think I was high or something. But the song has definite personal meaning to me.

Next is "Wring That Neck" which is an instrumental, mostly lead by the signature organ of Jon Lord. This is followed by a blistering guitar solo from Ritchie Blackmore. It's really great to hear them in their early days and how they were really the best talent of the band even though the recording has much to be desired. The remastered version sounds better, but still has that slightly prehistoric sound.

Deep Purple's first two albums were made up of original songs and covers, in the case of this album, of 4 original songs and 3 covers. The next track is their cover of Neil Diamond's "Kentucky Woman". Deep Purple's psychedelic rocked out version of this track is the much better version, but it is still obviously meant to be a single. Rod even gives his best "Psyche-Presley" impersonation, at least one of Elvis going over the edge. The organ solo in the middle is excellent, as to be expected. Of course, that is edited out of the single version.

"Exposition/We Can Work it Out" is a split track that starts with a DP original instrumental that has a Spanish Bolero feel to it that eventually quickly increases in speed to a dramatic organ solo that flows into The Beatles cover, which is a fairly boring and lifeless track. Paul McCartney expressed his appreciation of the band's cover of "Help!" on the debut album and suggested they do this cover on this album.

"The Shield" is a midtempo track which is surprisingly underwhelming. "Anthem" comes off as a ballad in a Spanish style with acoustic guitar and bass. Percussion and organ join in later. This track probably has the best vocals on the album, but unfortunately, the melody isn't really that interesting. In the middle section, a small string ensemble gives the track a nice baroque feeling over which we get a nice electric guitar solo.

"River Deep, Mountain High" is the Ike & Tina Turner cover, which is the highlight of the album. It starts out with an obvious Strauss inspired opening. It slowly builds in tempo and intensity with a long introduction which eventually returns to the fanfare intro again. Jon Lord's classical training really comes out on this one and his desire to make Deep Purple a Symphonic Rock band is apparent. About 4 minutes in, vocals start with a dark undertone on the first verse and full fledged rock on the chorus and after. The instrumental break features a great guitar solo before coming back to the chorus.

The remastered version has 5 more bonus tracks with the same psychedelic rock style as the rest of the album and definitely help add to the album. There are 3 radio sessions and 2 studio outtakes that didn't make the original album.

The album definitely shows more maturity than the debut, and it also shows that the band is having more input as the tracks are generally longer with more soloing and development. However, the album was done quickly, and it shows. The songs are better, just not necessarily done better. I find the album worth while for the tracks "Listen Learn Read On", "Wring That Neck", and "River Deep, Mountain High". The other tracks could have used more work as they seem more mediocre. Still, this is a good album, especially if you are a DP fan, and those that love psychedelic jam music will enjoy it. The progressiveness of the band shows better development in this album than in the debut, and things would continue to get better, especially after Ian Gillian joins the band with a much more dynamic voice with a wider range.

 Concerto for Group and Orchestra by DEEP PURPLE album cover Live, 1969
3.20 | 287 ratings

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Concerto for Group and Orchestra
Deep Purple Proto-Prog

Review by GruvanDahlman
Collaborator Heavy Prog Team

2 stars (I am only reviewing the original "Concerto for group and orchestra" album, not later editions containing "Wring that neck", "Child in time" etc.)

I have found that through the years this album been an alluring one. The cover is strikingly simple with its photo depicting the interior of Royal Albert Hall and the group is at first really not visible but there they are, slouched in the seats of the great theatre. It has become quite an iconic cover and it has been the very thing that drew and draws me in to this album. And yet, I find it a difficult piece of Music but not in the sense one might imagine..

The marriage of classical music and rock is one that is made in heaven. The pompousness of classical music merges so well with the over the top view of progressive rock. Unfortunately it doesn't always turn out as great as it could have done. Ekseption and ELP are but a few of the prog rock groups that managed to pull it off in the most glorious of fashions. Jon Lord, as brilliant a man as he was, dreamt of making the perfect blend of the two genres and actually got the go ahead quite a few times in his career. The first attempt was "Concerto for group and orchestra" and the idea was born half a century ago. When released in 1969 it was really not the barnstormer he had hoped for. For the marriage to succeed classical music (in this case a symphonic orchestra) has to cooperate with rock music (the group). When that is the case I love it, as in the case of the brilliant "VIctor" by Rigoni & Schoenherz. In the case of "Concerto..." you get a scizophrenic experience since the two genres for the most part seem seperated from each other. You get the orchestra playing without the group for 8-10 minutes and then the band plays for a while before handing over the microphone (or whatever) to the orchestra. This is the case, in general, on "Concerto...". Only rarely do they interact with each other. I get a bit uninterested in the long classical bits, which is a shame, just waiting for the group to come crashing out of the speakers.

The parts where Deep Purple actually plays are generally good and interesting. I wish Gillan sang a bit more but there you go. The rock pieces are not very complex but energetic and shows, if nothing else, something new as opposed to the albums recorded by the Mark I setting. I find that interesting. To make matters worse, sorry to say, there is a lengthy drum solo in the third section that should have been shorter, in my opinion.

The musicianship is as always spectacular and the sound of the group is quite raw and rough, which I like. The thing I like the most about the album is actually the organ played so brilliantly by Mr. Lord. It may be it's not his most technically challenging playing but the sound and how he handles the keys is enough to give me goosebumps. As for the vocals, as previously mentioned, Gillan should have been given more space and really show his talent since he by then had been given the role as lead singer, now that Evans was out of the picture. He gets only a fraction of room to show his talents and that's a pity.

So, while this could have been a defining moment in the progress of progressive rock music it falls pretty flat in comparison to other excursions in the same genre made by other bands. I think Lord, however proud of the achievement he was, should have given the execution of it all another thought. Had he merged the two genres into one pompous cohesive body of work this would really have been something extraordinary. The opening of side A should not have consisted of eight minutes of classical music. It would have suited the album better had the classical music started the album with, say, three minutes and then let the band enter it would have been a completely different matter. When you get to know the album properly it all works fine, you just live with it, but it makes the album sort of a hard listen. You just sit there, waiting for the rock parts to dive head into the pool of orchestrated music. It really never happens. While it is all very competent and quite bold it does not reach the heights I hoped and still hope for. Nevertheless I hold a great love for this album. It's something endearing with it but at the same time the flaws and inadequacy of the end result is there and no matter how much I want it to be different, there it is. Warts'n'all.

 Live In Japan by DEEP PURPLE album cover Live, 1993
4.20 | 72 ratings

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Live In Japan
Deep Purple Proto-Prog

Review by hieronymous

1 stars This remixed recording has so much potential, and yet falls so miserably. The good: you get to hear the shows mostly in the order that they were performed (a few songs were cut in order to keep the length to 3 CDs), including the onstage banter - mostly Ian Gillan offering explanations of the songs. The bad: the bass guitar sound has been ruined. All you can hear are the sub-bass frequencies, there is no high end or midrange. I haven't listened to Made in Japan (the classic album that was culled from the three shows represented on Live in Japan) in decades, so I thought maybe my memory was faulty, but it just couldn't sound like this! So I bought the cheapo original CD release, and there was the glorious bass sound of Roger Glover!

I think I know what happened - when they went to remix the original tapes, they heard that the bass was distorted and must have tried to "fix" it. But to me, that distorted bass sound is what was so cool! That's what bass sounded like in the early '70s! It may not be the ideal bass sound if you expect it to be clean, but nowadays people spend hundreds if not thousands of dollars to try and get that sound (think Orange amps and Darkglass Electronics effects, for example). They really really messed up on this one. I bought my copy used, I've heard it, and it's getting sold right back to Amoeba Records. Completely unlistenable to me. I'm going to keep my classic cheap original master CD and enjoy that. Apparently the deluxe single CD release from 2013(?) has the original Made in Japan track listing but also includes the encores and is remastered from the 1972 mix I might spring for that but I would have to listen to the 2013 remix before buying in case they screwed it up again.

 The Book Of Taliesyn by DEEP PURPLE album cover Studio Album, 1968
3.20 | 512 ratings

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The Book Of Taliesyn
Deep Purple Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars Recorded only three months after their debut, DEEP PURPLE quickly released their sophomore followup THE BOOK OF TALIESYN which continued all the traits of "Shades Of Deep Purple" with a mix of originals and covers, however despite the basic similarities that include different styles such as psychedelic and hard rock mixed with classical music arrangements interspersed throughout, THE BOOK OF TALIESYN nurtured these ideas even further with more sophisticated compositional approaches that are now regarded as some of the earliest proto-prog archetypes of the late 60s despite the fact that the album was mainly aimed at the hippie crowds in the US where it was released in October 1968. DEEP PURPLE surprisingly was completely ignored in the UK (where it was held back until 69) with their earliest albums until they became so popular in a few short years (with "In Rock") that they could not be ignored any longer.

The album title is a slightly alternate spelling taken from the 14th-century Book Of Taliesin which is one of the most famous of all Middle Welsh manuscripts that were attributed to the bard which was famous for setting a wide number of moods in the Medieval courts in the days of King Arthur in Camelot. Likewise the album THE BOOK OF TALIESYN is a loose concept album attempting to evoke the same sense of diverse mood shifts that a bard would propose in the context of the situation. The album contains seven tracks that range from spunky little blues rockers such as the opener "Listen, Learn, Read On," "Exposition" and other segments in different tracks which all all tinged with a period glaze of psychedelic keyboard embellishments that deviate into fantastic classical musical expeditions which finds Jon Lord dishing out some impressive keyboard playing that was only rivaled by Keith Emerson in The Nice.

The original tracks were composed by Ritchie Blackmore, original vocalist Rod Evans, Jon Lord and Ian Paice making the early episodes of DEEP PURPLE very democratic in nature. Ironically the album cover art (which is my favorite of the DP canon) was created by John Vernon Lord (no relation to the keyboardist). There are three cover tracks as well. The most popular track of this album is the Neil Diamond cover "Kentucky Woman" and the two part track that begins with "Exposition" cedes into a woefully out of place more bluesy rendition of the Beatles' "We Can Work It Out." The final cover and in my opinion, the best track on the album comes as the closer and is an excellent cover of Ike & Tina Turner's "River Deep, Mountain High" which introduces a new highly developed progressive rock approach to the band's resume as it churns out over ten minutes of satisfying musical changes taken Ike & Turner's funky soul domain into surreal psychedelic and classically tinged progressive rock territory.

At this point DEEP PURPLE was far from a household name and listening to THE BOOK OF TALIESYN these days give few clues to the world class act they would become in their Mark II days. While this album is satisfying on many levels, it feels like they were trying to pull off too many ideas that never feel resolved. The mix of psychedelic bluesy rock mixed with outbursts of classical keyboard segments display veritable exciting ideas gestating in the midst and there are even moments where the chugging of the guitar and riff sound like they are ready to break into such classics as "Highway Star" however for the most part the album soars along in psychedelic blues rock mode and while Rod Evans certainly had the perfect voice for the 60s hippie scene, he lacked the overall powerful effects that Ian Gillan added down the road. Fans of DEEP PURPLE should certainly check out these interesting origins even if all the proper elements hadn't quite coalesced in a totally satisfying way. Not a bad way to get your groove on. The newer remastered versions are quite superior to the original as far as i've heard.

Thanks to Raff for the artist addition. and to Quinino for the last updates

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