The Battle Drags On

The last Deep Purple album to feature both Ian Gillan and Ritchie Blackmore is unfortunately a pedestrian affair. Former Rainbow singer and Blackmore’s running mate Joe Lynn Turner came into the fold for a spell, but Gillan returned for a final go-around with Blackmore. “The Battle Rages On…” seems to be long forgotten and for good reason as the band sounds tired and Gillan sounds disinterested.

However, the opener and title track leaves a false impression as the battle rages with a strong riff and background keyboards by the great Jon Lord. A melodic chorus and the typical Blackmore guitar solo start the proceedings off on the right foot.

Problems begin immediately with the next track and slither in throughout the rest of the album. “Lick it Up” is a straight-up rocker with not one of the most memorable guitar parts and is mediocre by Deep Purple standards. “Talk About Love” and “Time to Kill” suffer from the same banal attributes and the worst part is Gillan sings like he knows these songs are crap.

Gillan delivers the most disappointing performance on this record. He sounds like he does not want to be there. The passion and character of his voice is not there. His singing on the next Purple record is way better than his work on here. On the aforementioned “Time to Kill”, his voice sounds tired and the closer “One Man’s Meat” he is completely emotionless. He at least shows some life and character on the cowboy rocker “Ramshackle Man” with some gun-toting vocal lines.

Amidst the boring tripe emerge two Purple gems that save the record from tanking. “Anya” is a beautiful song with maybe some foreshadowing by Blackmore showing where he was headed with his music. The acoustic, midnight fire guitar part transforms into a great riff featuring graceful chorus lines and perfectly conjures up the image of the mystical woman in the song. The other winner is another song about a woman with “Solitaire.” An enchanting, escalating guitar part immediately caught my attention and Gillan sings like a drone. I’m not sure if that’s what he was going for, but it goes well with the brooding tone.

In the end, there is not enough good songwriting and fails to capture the merits of a great band like Deep Purple. Blackmore and Lord do not even trade solos and have any moments together until the eight track “Nasty Piece of Work.” Blackmore even rips himself off with “One Man’s Meat” by taking the main riff from “L.A Connection” and inserting it here. The only time he lets loose with furious riffing and guitar theatrics is with “A Twist in Tale”, which shares similarities with “Dead or Alive” from the last Mk II album, but is not as good.

I don’t know if the boys decided to name “The Battle Rages On…” to describe how Gillan and Blackmore were working together again yet still hated each other, but no listener would win this struggle. On the band side of things, Gillan would win as Blackmore would quit mid-tour and since then he hasn’t looked back. With this final Mk II installment, the title track, the wonderful “Anya”, “Solitaire”, and “Ramshackle Man” will provide healthy listens. However, insipid rockers and a tired Gillan drag the album down as the band was clearly waiting for the battle to end.

Jon Lord: Master of the Keyboard

I am grateful that my dad introduced me to Deep Purple. He is responsible for bringing my attention to many wonderful bands as a kid. As my tastes matured and I started looking for music on my own, I became a bigger fan of Deep Purple and always marveled at the great musicianship all the band members possessed.

The passing of Jon Lord hits hard because he was one of the greats and of the musicians I grew attached to. As with many bands that came before my time, I wished I could have been alive in the seventies and experience “Machine Head”, “In Rock”, and “Burn” when they first came out. The way Lord attacked the keyboards and was able to create something so memorable was always astounding to me. There are also not too many people that could play alongside the great Ritchie Blackmore and dare him to come up with something that the master keyboardist couldn’t match. The interplay on the title track to “Burn” is the prime example of how those two would go at it and remains my favorite Deep Purple song.

There would be no Deep Purple without Lord. The man is responsible for making the ivories heavy and being like the Neil Peart of drumming. Both of them are the absolute best at their craft. The intro to “Lazy” remains a landmark moment on how to create a slick organ groove and the somber tone of “Child in Time” are memorable moments that I cherish as avid fan of the purple sound.

I never had the privilege of meeting Lord or seeing him live, but the comments from those who knew him and played with him say he handled himself like he handled the ivories: with class and dignity. It may seem silly to feel sad for someone you did not know personally, but Deep Purple were one of the foundations of me becoming a heavy metal fan and I have memories of sitting in the basement with my dad discovering Deep Purple for the first time. Thank you for the countless memories Jon Lord and your music will always be alive with this fan.

Purple Rainbow

After the famed Mark II lineup of Deep Purple came back together, all felt right again and they delivered an all-time classic in “Perfect Strangers.” Grand record sales and a successful tour ensued and they churned another album, but this time a bit uneven in “The House of Blue Light.” Throughout that time, vocalist Ian Gillan and guitarist Ritchie Blackmore decided they didn’t like each other again and now it was time for another incarnation of Deep Purple. Gillan was out and Blackmore turned to the guy he hired to bring his other band Rainbow commercial success, Joe Lynn Turner. Essentially, this was now a band mixed like a pack of Skittles. Bassist Roger Glover also played with Rainbow as Ian Paice and Jon Lord were the only members not to ride the spectrum.

In essence, this album is a mix of material that could be found on the last albums of Rainbow and also songs that still fight with the Deep Purple spirit. The opener “King of Dreams” has thumping keyboards and mystical guitars that suit Turner’s voice perfectly. In fact, Turner puts some of the strongest performances on this album.

Turner receives some unfair criticism at times about his voice and while he can croon with the best of them, he knows when to insert attitude and enhance the songs. “Fire in the Basement” has the blend of attitude and sharp singing that is also one of the stronger cuts on the album. “Truth Hurts” has Turner oozing emotion that is a combination of one of Purple’s best songs from the David Coverdale and Glenn Hughes years in “Mistreated” and Rainbow’s “Can’t Let You Go.” The team of Turner and the melancholic rhythm sparked by the bass and keyboard make for a great song.

Musically, Blackmore shows bite with his guitar work on the closer “Wicked Ways” with a driving rhythm and a nice touch of the violin sprinkled in to deliver a more striking gesture. “The Cut Runs Deep” did not connect with me the first couple times I listened to it, mostly because of the awful sounding voice shouting “the cut runs deep.” Otherwise, the guitar effects and the drumming make it a winner. “Fortuneteller” has a brooding, mysterious atmosphere about a lady who wields the cards of the future. The bombast of the chorus and the string of keyboard notes further add to the aura and is a very memorable song.

It’s unfortunate that all the songs could not be as good as “Breakfast in Bed” tries to sound like “Lazy” in the beginning with the keyboard, but quickly devolves into an inoffensive, AOR that is rather underwhelming. However, when “Love Conquers All” hits, I found myself in a true face-palm moment. Deep Purple doing a power ballad? Say it ain’t so. Deep Purple is much better than this and for them to try to hop on that train for more success is pathetic. Needless to say, the song is super cheesy and super sucks. The last bit of badness arrives in the form of the commercial, poppy “Too Much is not Enough.” It sounds like a Rainbow reject and I had enough after one listen.

“Slaves and Masters” is a solid Deep Purple album and Turner provides energy to a band that lost some spark with the last effort “The House of Blue Light.” I can’t see Gillan singing the material on the album, let alone the power ballad, but that’s a good aspect as Turner was not forced to sing something that may not have been comfortable for him. “Wicked Ways”, “Fortuneteller” and “Fire in the Basement” provide incentives for repeated listens and enjoy yet another version of Deep Purple.

Purple and Blue Don't Mix

“Perfect Strangers” was a stellar comeback album for Deep Purple. The return of the famed Mark II lineup did not disappoint as Ritchie Blackmore’s familiar leads and Ian Gillan’s vocals were back together and it just felt “right.” The album would be a huge success for the band commercially and critically, but now they had the challenge of trying to match the greatness of “Perfect Strangers.”

Ultimately, the songwriting is not as strong and the songs are less memorable in the blue house. There are also a couple instances of bad moments like the lame lyrics and uninspiring chorus of “The Unwritten Law” and the biggest offender in the poppy “Call of the Wild.” During the track, Ian Gillan sings “operator, this is the call of the wild.” I don’t know how Gillan could manage a straight face singing that cheesy line, but I give him credit for doing so. Thankfully, those are the only painful moments lyrically.

On the musical side, there are a couple stellar tracks to be found. The opener, “Bad Attitude” has all the ingredients of great song. The epic keyboard opening by Jon Lord, a pounding rhythm of drums and bass by Ian Paice and Roger Glover, a strong vocal performance, and of course a memorable solo by the esteemed Blackmore. The keyboard ending by Lord too is very catchy and all in all a grade A song. “Mad Dog” is a riff driven song with a riff that will stick in your head for days and showcases some more theatrics from Lord and an awesome Blackmore solo to close it. The other two great songs are “The Spanish Archer” and the closer “Dead or Alive.” The former features an adventurous desperation in the guitar and showcases Blackmore at his finest as he just wails and bends the notes at the perfect times. The clarity in Gillan’s voice almost serves as a calming presence due to the nature of the song. The latter ups the tempo with the characteristics being similar to “Burn” as the musicians keep going at it with the solos and do not let it up.

However, the quality drops with some tunes that are different from what listeners expect from Deep Purple. “Black and White” utilizes the harmonica and the song sounds like something you would hear in a movie during a bar brawl. I like the bass line by Glover, but overall the track does not have that purple charm one would expect. “Mitzi Dupree” has a lounge band type feel with a strong vocal performance by Gillan to keep me interested. The song has a certain charm, but it may turn others off. A track that could have been great, but fails in a couple areas is “Strangeways.” The tickling of the piano creates a mysterious atmosphere, but is thrown out when the chorus comes in and breaks the mood of the song. It does not help that the song runs too long either.

What made “Perfect Strangers” great is that the band was on a mission to rock and show they still got it. The songs kept coming at you and provided an experience you wanted to return to. “The House of Blue Light” wavers between its sounds and it does not help when the second and third songs are stinkers in “The Unwritten Law” and “Call of the Wild.” The guys find their legs in the best song on the album “Bad Attitude”, “Mad Dog”, and “Dead or Alive.” While the stay at the house might not be the most comfortable, it certainly will not leave you feeling cold.

This Is a Comeback

When Deep Purple lost its shade after “Come Taste the Band”; it was the perfect time for the band to end. The Mark IV lineup with new guitarist Tommy Bolin provided an album that didn’t live up to the Deep Purple name with the simplified songs and a huge blues influence. By 1984, the stars had aligned for the famed Mark II lineup to comeback. Ian Gillan had just finished his stint with Black Sabbath and Ritchie Blackmore’s Rainbow had reached the end of the spectrum. Bassist Roger Glover, master of the ivories Jon Lord, and drummer Ian Paice were all back on board to give the fans what they craved; the Mark II lineup back in action.

The boys do not disappoint either delivering a great dose of hard rocking tunes and Blackmore once again regaining his edge after some poppy Rainbow albums. Songs like “Knockin’ at Your Back Door” and the well-known title track will stick in your head for days. Blackmore shows his knack for writing memorable riffs and to highlight a solo with the former and the title track is a great piece of songwriting with an awesome keyboard intro and a soulful vocal performance by Gillen.

There are no tricks or venturing of the purple mark on this record as any listener can tell how the guys were rejuvenated and genuinely happy being back together again. The neoclassical meanderings of “Hungry Daze” and the up-tempo, keyboard driven “Gypsy’s Kiss” are reminders of just how good these musicians are and the music they create. My version also has “Not Responsible” which reminds me of “A Light in the Black” from the famed Rainbow “Rising” album and that certainly is not a bad thing.

The only misstep is the ballad “Wasted Sunsets.” While I adore Blackmore’s guitar performance, the songs does not fit in with the rest of the album and breaks up the rocking, no-holds-barred pacing that was carrying on. The song is also not that good and the least memorable. Some flack is also given to “Mean Streak” for the lame chorus, but that is more of a minor quip than anything.

“Perfect Strangers” is the definitive example of a comeback album not being a failure. In fact, this is one of the best Purple releases. The songs are full of inspiring writing, memorable songs, and the formidable tandem of Lord and Blackmore dueling with the keyboard and guitar. “Knockin’ at Your Back Door” and the title track will keep you coming back for more because this is how a comeback  should be.

A Bitter Taste

It is very easy to believe that this album would be a failure. Arguably, the main cog of Deep Purple, Ritchie Blackmore left because of his unhappiness towards the more funky, blues based sound the band was beginning to develop on “Stormbringer.” The band was just about done after this happened, but vocalist David Coverdale and bassist Glenn Hughes wanted to push on and push on they did when they found guitarist Tommy Bolin to fill in Blackmore’s big shoes. Bolin’s style is more straightforward and has a funky edge to it than the classical leanings of Blackmore. Adding on to that, the cover art is very seventies. I’m sure some people thought it looked “happenin’” and “groovy”, but seeing the band’s faces plastered in a glass of wine creeps me out a bit.

It's evidently clear that Coverdale, Hughes, and Bolin had the biggest imprint on this album because it is a lot more bluesy and funky. Songs like “Lady Luck”, “I Need Love”, “Gettin’ Tighter” have the funky edge and lyrics trying to court the ladies. There is no “Child in Time” or the emotional outreach of “Soldier of Fortune” found on here. In all honesty, I would have reacted better to this album if it was a Whitesnake release rather than a Deep Purple record. It makes sense too because Ian Paice and Jon Lord would join Coverdale in Whitesnake after this.

Amidst all the mid-tempo rockers are some great tracks. The opener, “Comin’ Home”, has an upbeat tempo, driving keyboards and guitar, with an energetic performance by Coverdale. The true highlights occur with “This Time Around” and “Owed to G” as Lord is allowed to show his keyboard skill with an array of notes dancing as Hughes channels his inner Stevie Wonder and busts out an awesome vocal performance. It’s a perfect tune to go strolling through the city streets with. At least, that’s the images that go through my head while listening to it. Another stellar tune is “You Keep on Moving” with a cool bass line and another inspiring vocal performance by Hughes. The somber tone by Hughes and the keyboards work effectively and the middle part where the music picks up and Coverdale joins in makes for a memorable moment. Bolin closes with a great solo and it makes for a perfect song.

It’s unfortunate the songs did not become as adventurous as this as “Drifter” and “Dealer” meander in mediocrity and fail to conjure anything memorable. However, I have to give an honorable mention to “Love Child.” Besides the goofy title, the opening riff is very catchy and manages to hold my attention throughout the song.

“Come Taste the Band” ends up leaving the listener with a bitter taste. If the band had concentrated their efforts on creating more songs like “Comin” Home” and “This Time Around” it could have been truly special, but unfortunately it fails to live up to its potential. However, it is by no means a bad record. If you are going to purchase this, I highly recommend the 35th Anniversary Edition which features remixes by Glenn Hughes and two studio outtakes where you can hear a Bolin and Paice jam where Bolin wails on the guitar more than he did on the rest of the album and “Same in LA” is a neat keyboard driven rocker. You also get the story of how this lineup was formed, how the songs were put together, and what led to their breakup. Even though as a whole, the taste is sour, there are some fine sips inbetween.

Blues Taking Over

If one were to expect an album simliar to "Burn" then that person is going to be thrown in for a loop. The remarkable thing is that both "Burn" and the album being reviewed, "Stormbringer", were released the same year yet both have significantly different sound and style to them. It may have something to do with the amount of drugs being taken by Glenn Hughes and David Coverdale, but that is a discussion for another day. The one aspect that is evident is the amount of blues and soul infused into the songs and it is understandable why master axe man Ritchie Blackmore would be upset.

The songs that shine on here are the ones Ritchie goes full force with his famous Fender Stratocaster and when his riff playing is the main component featured. His catchy, intricate up-tempo riffing is the main highlight found here. This also brings out the brilliance of Jon Lord because the double team of his keyboards and Ritchie's guitar playing is unmatched by any other band.

The dueling vocals of David Coverdale and Glenn Hughes return and again they are very impressive to hear. Hughes shows his soulful vocal chords on "Holy Man" and "Hold On" and Coverdale's screeching, bluesy voice complements it perfectly. The way they play off each other is impressive and unique to this version of Deep Purple.

However, where "Burn" succeeded is where "Stormbringer" failed. For one, the drumming of Ian Paice is severely toned down, mostly doing a simple, blues type of beat and is not the wild, frantic kind we all know and love from him. The guy is a great musician, but you would not know it from this album. Another is the prevalence of the funky bass playing by Glenn Hughes. It just sounds annoying and is not enjoyable. "Love Don't Mean a Thing", and "Hold On" just drag the album down with no awesome riffing and having an overload of blues in them. Then "You Can't Do It Right" is a pure funk song and it is embarrassingly bad especially with the trippy chorus.

While a listener of this album maybe frustrated on what is going on, the last song will cure a lot of it. "Soldier of Fortune" is an acoustic track song sung by Coverdale and it is very melodic and beautifully done and might bring on a few tears. It is very melancholic and the inclusion of the violin in the background furthur adds to it and is one of the best Deep Purple songs.

"Stormbringer" is an album that will frustrate listeners as it is rather hit-and-miss. There are some very enjoyable moments found on here though and is worth the purchase. Some may like the bigger inclusion of blues and funk, but it just does not fit Deep Purple. With that being said, this still gets a good score and is still a good Purple record. This would be Ritchie's swansong as he would go on to form Rainbow because he did not like the direction of the band. Don't let that fact deter you from buying this though as it is certainly something to listen to.

The Deepest Purple

When a band loses a key member or members; it usually spells doom for the soldiers who carry on. With Deep Purple losing the wonderful talent in Ian Gillan and dropping Roger Glover; it could easily be concluded that this was just the beginning of the end for one of hottest rock bands of the 1970s. Further proof in the pudding was the choice of replacements in little known David Coverdale and this funky bass player from Trapeze, Glenn Hughes. In fact, the “Burn” cover art with the members’ heads as wax candles could be a symbol for their careers melting away.

However, what we have here is the finest Deep Purple album. The songwriting is top notch and the inclusion of Coverdale and Hughes as vocalist brings a great mix of bluesy and soulful singing. Ritchie Blackmore always had an eye for talent and he didn’t miss here. The title track and the opener is one the best Purple songs. From the insane drumming of Ian Paice to the back and forth solos between Blackmore and keyboardist Jon Lord; this is the definition of a perfect song. The world is also introduced to the blend of Coverdale and Hughes.

The Brits keep the music flowing with the bluesy and slow rocker in “Might Just Take Your Life” which transitions to the walloping guitar riffing in “Lay Down, Stay Down.” The guitar solo is done well with a clean piano in the background to keep the beat. The back and forth between Hughes and Coverdale is also enjoyable as this is one of the standout tracks of the album.

One of the other positives is that each track is unique. “Sail Away” brings a funky edge to the proceedings with the bass riff and the Blackmore closing solo which features many wavy guitar notes sounds similar to Blackmore’s future band Rainbow’s epic “Stargazer.” Another one of the standouts is “What’s Going On Here” which sounds like a barroom rocker as I can see Lord doing the piano part while Coverdale and Hughes are enjoying the devil’s fuel in the background.

A final masterpiece is found with “Mistreated.” This is the only track with a single vocalist as Coverdale takes the helm and delivers his finest Purple performance next to “Soldier of Fortune.” His bluesy voice blends with the depressing riff provided by Blackmore perfectly and the emotional solo drives it home safely. Soothing bass and trembling drums really drive the sad mood it goes for. This is a grade A song from a grade A band.

“Burn” shows how a band can change members and deliver great music. The new blood in Hughes and Coverdale a perfect combination of soul and blues and combined with Blackmore’s trusty guitar wonders makes this an awesome album. My only quip is “You Fool No One” does not fit the Purple mode of hard rock as it is way too funky and groovy. However, the title track is I daresay the best Deep Purple song ever written. Don’t believe me? Just put this song on and feel the “burn.”