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Interestingly before Deep Purple became 'Deep Purple', they were originally called 'Roundabout' as the project was intended to be a band of revolving musicians with Chris Curtis of 'The Searchers' being the one constant member while playing the drums. This was a short lived idea of Chris' who was never really in the band although he did his part by uniting Jon Lord with Ritchie Blackmore, thus forming the backbone Deep Purple. Ironic then that Deep Purple has always been a revolving door of musicians and has hosted several different lineups through the years ((even and especially during their 70's prime) which is illustrated with a quick glance at the table below.)) But fear not, for this never ending revolving door is made of legends, most of whom have also been in other amazing projects as well. Through it's 40+ years and various personel, it is surprisingly difficult to find anything but great offerings from these pioneers of hard rock.

Mk I

This is where it all begins. If you're looking for the songs that made them famous, you're not going to find them here, although 'Kentucky Woman' and 'Hush' were popular on the radio during the time. This lineup is very much a product of the 60's, with it's psych trappings, odd, uneven mixes, heavy reliance on covers, rushed production deadlines and limited studio time. This is Jon Lord's band, first and foremost, his organ leading the way into pyschedelia with concertos and classical stylings mixed in with heavy rock elements. Blackmore doesn't yet have his signature swagger on guitar although there are flashes of brilliance peppered in. The most intriguing aspect of MK I is the depths of their progressiveness showcased on their third album, the eponoymous 'Deep Purple.' There's plenty of greatness on these early albums, but with a lineup change pending, they were soon to go from being really good, to legendary.

Shades of Deep Purple - 1968

Their first album kicks of their career in fine fashion! It's not quite stylistically like the prime Deep Purple era 1972-1976, in fact the music created by the MK I lineup is prog-rock oriented and in the art-rock vein. Underneath everything one hears the dynamic interaction between Nick Simper (an underappreciated bassist) and drummer Ian Paice. 'Shades' biggest problem is its questionable mix. Nick and Ian always cut through with excellent tone. Ritchie Blackmore, however, tends to be buried in the mix with his generally thin and brittle tone.) Although his playing is up to snuff in spots, it's not the fiery riffy goodness that will become his trademark, and harmonically, he is inconsisent. Rod Evans a strong vocalist, has a radically different singing approach than future vocalist (MK II) Ian Gillan which shows up strongly on 'Mandrake Root', a song which the band would keep in their repertoire after Evans left. Still, the pieces are in place and Lord and Blackmore are already pushing each other to greater heights, and that is trademark Deep Purple. At this point Deep Purple is Jon's band and he takes the leading role on this album. There are a lot of fine ideas floating around on this debut but it's bogged down by a slower second side, mostly due to a lack of material and consequently, an over reliance on covers. 'And The Address' with it's rumbling keyboard intro, heavy guitar chords and guitar / keboard interplay makes for a very cool opening number. It's one of the best melodies on the album and ends with a lightening fast guitar flourish that serves as a harbinger to the classic Deep Purple sound. 'Hush' is the pop/hard rock organ driven tune that helped them gain popularity in the US. 'One More Rainy Day' is moody with classically tinged keys. 'I'm So Glad' starts a keyboard driven instrumental section until a mellow guitar kicks off the song properly. 'Mandrake Root' has a Hendrix-y riff but it never comes alive quite like it will in a few albums when Gillan starts yelping it in concert. Still, it's memorable for it's chaotic, "freak out" improv vibe. (rating: 3.75/5 whammy bars)

The Book of Taliesyn - 1968

Demerits for covering a Beatles song two albums in a row. It's one too many times to the well. It not only reeks of cheating but points to an even bigger problem; namely the lack of original material and an over reliance on covers. Deep Purple is exciting when they allow their creativity to flow. Case in point is on 'Kentucky Woman,' an average song on it's own and a questionable choice for the band but what really stands out about this song is the manner in which the middle section de-evolves into a chaotic, psychadelic, freak out mess which, most likely, would have sent Neil Diamond running and screaming in the opposite direction if he ever listened to it. 'Listen Learn Read On' doesn't hold up well to repeated listenings despite a tremendous distorted bass solo from Simper. The rest of the album leans toward a sophisticated kind of art-rock although 'Wring That Neck' would become a signature song for the band with not only a psuedo classical influence but hard rockin solos, inching the band closer to what they would become at their height. With 'River Deep Mountain High' (another cover) the arrangement transcends the song, taking the Mk I lineup to a new high and setting the stage for the 3rd Deep Purple album which would be by far, the best album that this lineup produced. (rating: 3.5/5 whammy bars)

Deep Purple - 1969

The eponoymously titled 'Deep Purple' is the crowning achievement of the MK I lineup, stacking up nicely alongside the best Deep Purple albums of all time. Revealing yet another stylistic permutation that Deep Purple is capable of, this result is a blend of 60's pscyh, prog, high art, and heavy rock. Finally, Blackmore is placed well in the mix and although at times his tone still suffers from thinness and a brittle wah, these negatives are displaced by his heavy opening riff and masterful soloing on 'Why Didn't Rosemary?' 'The Painter' also features fantastic solos from Lord and Blackmore both. The album closes with Jon Lord getting one last shot at his classical aspirations and although most of his attempts (past and future) are clumsy, on this rare occasion, he knocks it out of the park. 'Deep Purple' is loaded with great solos and mysterious melodies Ian Paice is a driving force in 'Chasing Shadows', his smooth and easy, jazzy yet rocking style, is always at the heart of Deep Purple. The only questionable choice on this album is the decesion to cover the ridiculous Donovan song. If not for that, this album had a real shot at perfection. (rating: 4.75/5 whammy bars)

Songs that didn't make the album that you should definitely listen to: Emmaretta

Live at Inglewood - 1968 (released 2009)

I am basing this rating solely on the performance of the musicians and ignoring the shoddy recording quality which will undoubtedly be a huge turn-off for many. Some may even find this artifact unlistenable. Ultimately, we are lucky to have this souvenir of a live performance (and a very good one at that) from the MK I lineup. The production has massive eq problems, distortion from clipping and an uneven mix (good luck making out the bass, which is a complete shame because Nicky was a damn fine player!) Of course the bass drum is inaudible as well. But the performances are great all the way around and this album feels more like classic Purple, due to the live setting, than any of the studio albums ever did. This shouldn't be a surprise as this band always played with more energy live (epecially Lord and Blackmore.) Case in point: even 'Kentucky Woman' (such a dull choice for a cover) feels heavier and 'River Deep Mountain High' is a triumph. Both outdo their studio counterparts. It's a short set that's heavy on covers and while it's not essential, it's a helluva nice addition to your Deep Purple collection. If you can find it, and don't mind the less than ideal production, get it! (rating: 4/5 whammy bars)

Mk II

In Rock - 1970

The first truly essential Deep Purple album. First off, make sure you find an overseas pressing so you you don't miss the long intro to 'Speed King' that the American release edited out. It's a wonderfully chaotic opening that perfectly bookends the crazy atonal meltdown that concludes the album, the Mark II version of high art but this time served with a knuckle sandwich. 'Speed King' has, inarguably, the all time greatest Stratocaster vs Hammond B2 duel in recorded history. It's jazzier vibe is nicely tucked away between the layers of mind melting hard rock. The epic 'Child In Time' shows this band at the height of itself creative genius. Gillan would never sing more dramatically than on this song, Lord has a moody, lovely and ominous organ intro, the song contains quite possibly Ritchie's best studio solo ever and the neoclassial riff doubled up by Lord to end Blackmore's solo is pure exhileration matched only by Gillans's encore vocal cresendos. The entire album is consistently excellent albeit a minor complaint is that 'Bloodsucker,' 'Into the Fire' and 'Living Wreck' could have been shortened up a bit. But this was assuredly a product of the 70's, and musical overindulgence from virtuosic instrumentalists who took pride in their craft was the order of the day, even if sometimes the song structure had to be relegated to secondary importance. But let's not get too picky because 'Flight of the Rat' is an epic blast and 'Hard Lovin Woman' rocks until it finally loses control, crashes upside down, into the ditch, wheels still spinning, flames licking around the gas tank towards a catostrophic explosion. But what a ride! (rating: 5/5 whammy bars)

Songs that didn't make the album that you should definitely listen to: Hallelujah, Black Night

Stockholm 1970 -2014

Originally released as 'Scandanavian Nights', 'Stockholm 1970' has been cleaned up and the songs have been put in the correct order (except for a couple of bonus tracks from different concerts mixed in between - which is a bit frustrating). Skip over the bonus tracks if you can and listen to the concert in order and in it's entirety. This album is essential due to the fantastic early MK II material that won't show up again like 'Into the Fire,' 'Wring that Neck,' 'Speed King,' and 'Mandrake Root.' 'Into the Fire' is heavier here than on 'In Rock' and is a must listen while 'Speed King' stretches out, employing fantastic dynamics and containing an early version of the classic Ian - Ritchie call and response that would remain a staple of their live performances for years. 'Wring That Neck' and 'Mandrake Root' both take up an entire side of an album. Gillan introduces 'Wring That Neck' and could have gone to the pub next door for a beer while the band jammed away (something he was know to have done at least once during one of Blackmore's extended guitar solos.) 'Stockholm' allows you to experience first hand Deep Purple's imagination, self indulgence and seemingly limitless atonal, space rock, fusion-istic predilections, boundless and executed to great effect. No other band can kick you into the musical black hole event horizon. Good luck returning from your altered reality! (rating: 5/5 whammy bars)

Fireball - 1971

A strange kind of album in many ways. Sandwiched in between the DIY anarchic avalanche of 'In Rock' and the sophisticated yet accesible hard rocking of 'Machine Head,' 'Fireball' is their artistic statement. It is just as improvised as 'In Rock' but the chaos is replaced with a roominess and laid back vibe. What's most noticeable is that 'Fireball' doesn't showcase Jon Lord rocking his organ until it tips over onto the floor in a crash of reverb, nor Blackmore wrecking his Strat or even Ian yelping into the cosmos. But rather, it is a mellower album, as far as hard rock standards will allow. 'Fireball' is the opener, kickstarted by the drumming of Ian Paice. The trippy, backwards slide guitar work of Ritchie on 'NoNoNo' is mesmerizing while 'Strange Kind of Woman' is classic Deep Purple pop (as FM friendly as DP could be expected to manage.) 'The Mule' is a great combo of vocals and instrumental prowess. A couple of great songs didn't make this album in America, 'Demon's Eye' and 'I'm Alone' the latter featuring some blistering solos from Ritchie and Jon. If they would have made some tough editing decisions and managed to include these two tunes, I think they would have had another perfect album in their catalogue. As it is, it misses by the width of a high e string, mainly due to the goofiness of 'Anyone's Daughter', which although fun and spirited from Ian Gillan, is unessential. (rating: 4.75/5 whammy bars)

Songs that didn't make the album that you should definitely listen to: Demon's Eye, I'm Alone

Machine Head - 1972

If you are only going to add one DP studio album in your collection, this is probably the one you need. Herein lies the original version of 'Smoke on the Water' which contains not only an instantly recognizable iconic Blackmore riff but one of the most well crafted guitar solos of his career as well. The vocal melodies are consistently excellent by Ian Gillan allowing this album to surf seamlessly and simultaneously between pop and underground hard rock. Where 'In Rock' was punkish and anarchic in nature, 'Machine Head' is lean, and refined but loses none of the exciting energy that went into 'In Rock.' The fiery interplay between Lord and Blackmore is on constant display in 'Highway Star' and 'Lazy.' There's avant-garde metal for the cosmos in 'Space Truckin' with Ian Paice's prolonged drum break leading into an anarchic ascension. Decorating the album throughout are Gillan's unearthly yowls. Even the filler songs aren't filler, 'Pictures of Home' was released as the single. 'Never Before' has a great moody breakdown. This album is essential as evidenced by half of the material on the album being included in the bands live show ever since it was released. (rating: 5/5 whammy bars)

Songs that didn't make the album that you should definitely listen to:When a Blind Man Cries

Made in Japan - 1972

This is the definitive hard rock concert recording from the 70's. Recorded as an afterthought and with little interest in the project from the band (aside from Glover who did the mixing) it captures the band, "road hot" and at their peak. Another remarkable fact about this album other than the music and musicianship, is that there are no overdubs. Gillan was fighting a cold and hence he can be heard croacking on occasion if you really listen, and Ritchie flubs a few notes here and there (again if you really listen) but none of that is important because this is an album about artists pushing their songs, their musicianship and their imagination to the limits. The solos are self indulgent, of course, this was hard rock in the 70's afterall, a response to the limiting 2 minute song format of the 50's and 60's. All of the songs are from the exalted trinity of 'In Rock', 'Fireball' and 'Machine Head' and in many ways they are superior to their studio counterparts. Of course this is essential Deep Purple. The remastered CD contains the encores 'Black Night,' 'Speed King' and 'Lucille' and if you're really serious (and well you should be) you can find the box set which contains all 3 nights in Japan from which the original 'Made in Japan' was culled. (rating: 5/5 whammy bars)

Who Do We Think We Are - 1973

First off, this album is not terrible even though critics have panned it as a product of it's background: exhaustion and sickness from relentless touring as well as the insurmountable and growing rift between Blackmore and Gillan who, by this point, refused to even be in the studio together at the same time. Does all of this make for a bummer of an album? Kind of. Ultimately, Ritchie was getting the itch to go in a bluesier direction, as he was smitten with Paul Rodgers' vocal style. In line with his mercurial nature, he wanted to shake up the lineup and the musical direction again. When Ritchie has his heart elsewhere it can mean passionless solos like the one we get on 'Super Trouper.' However, there are still many great moments: 'My Woman From Tokyo' is no doubt a classic Deep Purple song with a signature Blackmore riff and surreal bridge. Rarely do we get to hear Jon Lord play piano so quietly and prettily, and rarely do we get to hear Gillan show such melodic range and restraint. 'Smooth Dancer' has good energy and it's funny that Gillan wrote the lyrics that so obviously disparage Ritchie's character. Either Blackmore didn't notice, or more likely, couldn't even be bothered to care. Paice's drumbeat is where the title 'Rat Bat Blue' comes from, according to Gillan and features the typically effortless drumming that gives disparate song parts fluidity, nimbly linking them together. 'Rat Bat Blue' also features an amazing if not comically over the top solo from Jon Lord. 'Our Lady' actually has some interesting Hendrix inspired R&B rhythm work form Ritchie (Hendrix was one of the few guitarists that even Ritchie would admit to admiring) as well as some very nice melodic development from Gillan adding depth with Beatlesque background harmonies and cool synthy sounds from Lord. (rating: 3.5/5 whammy bars)

Mk III

Burn - 1974

Ritchie Blackmore has always had a knack for finding unknown talent so it's no surprise that he championed and helped cultivate a superstar by auditioning David Coverdale. Before 'Burn', Gillan had resigned and this opened the door for Glover to be (albeit rudely) cut from the lineup as well. All of this worked in Ritchie's favor, of course, so that he could move the band in a blusier direction. Thus, Deep Purple welcomed Glenn Hughes (an amazing singer and naturally gifted bass player) along with David Coverdale. Glenn's stratospheric singing approach made sure that the vocal range of the band would still match that of the departed Gillan and as an added bonus, vocal harmonies could take a much more prominent role in the singing. Often Hughes and Coverdale shared lead vocal duties on verses and sometimes doubled each other up, always to great effect. Ritchie, having gotten his way, was happy for at least an album and he refreshed exuberance shows up in his riffs, solos and songwriting. When Ritchie takes the time to detail and layer up his guitar solos, as he does on 'Burn', it's obvious that he's in a good place creatively. 'Burn,' (the title track) with it's ambitious song structure, flows effortlessly thanks to the reliable and incredible breaks and transitions of Ian Paice. This album opener is on par with 'Highway Star' (another legendary track to open an album) and jump starts the new Mk III era quite impressively. 'Lay Down Stay Down' has a great riff and a stop and start rhythm. Hughes' vocals effortlessly blends R&B and hard rock, adding in very nice dual harmonies. 'Sail Away' contains another of the album's monster riffs and features great tag team interaction between the Coverdale and Hughes. Jon Lord's tone and synth choice is out of this world, where is this sailboat you're on heading to, excactly, Mars? 'Mistreated' remained a staple in Ritchie and David's repertoire long after Deep Purple split up, a testament to the appeal and importance of the song. And just when you think the reformed Deep Purple is funkier and blusier and earthier, they take you on a space ride with A200 to close out one of their best albums. (rating: 5/5 whammy bars)

Songs that didn't make the album that you should definitely listen to: Coranarias Redig

Live in London1974 - (released in 1982)

This is the MK 3 version of 'Made In Japan', even borrowing a couple of tunes from the MK 2 catalogue; the obligatory 'Smoke on the Water' and 'Space Truckin.' 'Smoke on the Water' is a fantastic version, in part due to the extraordinary harmonies of Coverdale and Hughes, which gives the well worn song a fresh interpretation complete with the giant Hughes credenza right before the end, where he engages in some R&B scatting, showing off his range, right before the thrilling conclusion. Throughout, Deep Purple is firing on all cylinders, relying heavily on material from the 'Burn' album. Blackmore is inspired and plays blistering leads, throughout. Jon Lord introduces each band member during the proceedings and ironically, the biggest cheer from the crowd is for Ritchie, cementing the fact that he was the life and soul of Deep Purple. Soon, he would have one foot out the door. No matter, that would be a concern for the future. For now, all of these songs arguably sound even better and more exciting than their studio counterparts. The linup may have been shuffled, but the results where still legendary. (rating: 5/5 whammy bars)

Stormbringer - 1974

Somewhat controversial among Deep Purple fans, this album is not as "metal" their earlier albums. In fact, at times the songs are more chilled-out R&B than rock. But don't despair, alongside the quieter moments, there is plenty of hard rock on this album. Deep Purple, never a band to be strictly beholden to a particular genre, demonstrate their versatility and show their creative restlessness. Coverdale and Hughes are allowed more room to manuever on this album and as a result produce songs that are true highpoints for their careers. Ritchie, for his part, seems to have checked out a bit on some of the songs (like he did on 'Who Do We Think We Are') but on this album, other members rush in to fill the vaccuum. Blackmore's diminished presence allows Jon Lord a lot of extra room to manuever and contribute, to very nice effect. Lord seemed to prefer the background after 'Machine Head' which is a shame, because it all sounds so much more Purply when he indulges his creative spirit. When Blackmore CAN be bothered, he shows up fiercly and proves that he has plenty of fire left in his Stratocaster. Unfortunately, for the most part it seems he was distracted, daydreaming about Ronnie James Dio and a soon to be unveiled Rainbow project. Track highlights: 'Stormbringer': rockin' with tremendous slide guitar work and wicked wah drenched Hammond B2. Funky, hard and heavy, a great opener. 'Lady Double Dealer,' 'Highball Shooter,' 'The Gypsy' and 'Soldier of Fortune.' (rating: 4/5 whammy bars)

Graz - 1975 (released 2014)

Here is the best counterpart to 'Live In London' you're likely going to find. This live recording is taken from the 'Stormbringer' tour and is culled from the live concert three days before Ritchie left Deep Purple to start Rainbow with Ronnie James Dio. This album is essential because where else are you going to find a live cut of 'Stormbringer,' immediately after a rollicking version of 'Burn?' Additionally, we get to hear first-rate renditions of 'Gypsy' and 'Lady Double Dealer.' The overblown rendition of 'Space Truckin', (now that we have already heard it on 'Live In London') does tend to drag on a bit but it's still worth it since we don't want to miss a single note from this legendary band burning along at their prime. (rating: 5/5 whammy bars)

Mk IV

Come Taste the Band - 1975

Another major lineup change and another great album. Somehow, this isn't shocking, Deep Purple always seems to find a way. This time, the one to leave is Ritchie who went on to form Rainbow with Ronnie James Dio. So how do you replace a guitar virtuoso who's fretboard work was the primary force behind the band? Well, you just go get Tommy Bolin. Seriously, what other guitarist could have come in and done that? Unlike the classic MK II era, this band is funkier and more R&B driven, but it still sounds wild and exotic with Bolin's exceptional playing throughout. The Glenn Hughes songs are the most satisfying i.e. 'Gettin' Tighter' and 'This Time Around,' the former with it's heavy, funky riff and jazzy middle section, the latter a gorgeous and inventive masterpiece of song development. And man, can Glenn Hughes ever sing!! The Coverdale songs tend to foretell the vibe of the upcoming Whitesnake era, bluesier, grittier but a little short on melody i.e. 'I Need Love,' 'Drifter,' and 'Lady Luck' brings the album down a star. Coverdale does redeem himself however, with the closer 'You Keep On Movin,' which is sublime and elevated blues. (rating: 4/5 whammy bars)

Long Beach -1976

First of all, relegating Tommy Bolin to rank of cover guitarist, while unavoidable in this situation, is difficult to listen to. Blackmore, by this point had played all of these songs so brilliantly on previous live versions that no one in the universe could step in and do them justice. Bolin was a gamer, and it goes without saying, a brilliant guitarist in his own right, but listening to him try to paint by number his way through classic Deep Purple material (let alone on a Les Paul, egad!" well, it's nowhere near as satisfying as hearing the live renditions of the material from 'Come Taste the Band'. 'Smoke on the Water' is a blessing and a curse for this band as obviously it and the other classics had to be played to placate the audience. But the MK IV material is much more satisfying to listen to on this album. Still, anything with Bolin on it, due to his short career, is essential. After this tour, or part way through it, drugs would eat away at the heart and soul of this short lived lineup, leaving behind all of the untapped potential. In fact, Deep Purple would remain quiet for 8 long years afterwards . . . (rating: 4/5 whammy bars)

Mk II - Reunited

Perfect Strangers - 1984

The long awaited and anticipated reunion of not only Deep Purple but the venerated MK II lineup was not a dissapointment. It's obvous that, at least briefly, all members were excited to be back together again. Jon Lord circles the waters like a shark on the prowl, introducing the album. When Blackmore is enthusiastic and in good spirits, it shows in his playing and on this album, his aggressive and playful guitar work is on full display. He doesn't let up on the throttle for rockers like 'Knocking at Your Backdoor,' or 'Gypsy's Kiss' or the eastern influenced, oddly rhythmed hypnosis of 'Perfect Strangers.' For good measure, Ritchie checks in with a brilliant solo on the slow burning 'Wasted Sunsets.' Sadly, this is the last time you will hear Jon Lord really stretch out on keyboards in such an exciting manner and the duels between he and Blackmore harken back to the glory days of the MK II era in genuine fashion. Ian Gillan, also, is in fine form, scatting and screeching with abandon, his lyrics fun and enticing and as always, nonsensical, especially on the goofy but enticing 'Gypsys Kiss.' This would be the last truly great Deep Purple album. This isn't 'Machine Head', 'In Rock' or 'Burn' but instead something different than all of those but in it's own way almost as interesting. This is also the last album by Deep Purple that that feels restless, and goads their imaginations into creating something surprising and unique. (rating: 4/5 whammy bars)

House of Blue Light - 1987

This album is glossy in it's production, like Joe Lynn Turner era Rainbow. Although the intent is to deliver accesible pop, the musicianship is, of course, exceptional, throughout. It's quite short on progressive ideas although there are a few here and there. The highlights are 'Bad Attitude,' and 'Mad Dog' but 'Spanish Archer' is the real standout track with it's midievel guitar opening and a relentless exciting ambience that intensifies Gillan's captivating and powerful lyrics. It's dissapointing that Jon takes a back seat throughout almost the entirety of this album, because, it just isn't classic Deep Purple without the duels between Ritchie's Stratocaster and Jon's Hammond B2. Every Deep Purple album is better when Lord is given a chance to shine. On the bright side, many of the tunes are riffy enough but ultimately, there are too many slow and dull moments, most heinous of all is a recycled Rainbow riff that pops up in it's 3rd or 4th iteration. This record fails because largely because it's a product of intentionally aiming for pop success. The result is pop that isn't good enough to be truly popular while the bands strengths are watered down when they should be showcased. (rating: 2.5/5 whammy bars)

Mk V

Slaves and Masters - 1990

The production on this album is as sterile as an operating room and unfortunately the music is about as much fun as one. There's not much on this album that bears a resemblance to the classic Deep Purple sound we all know and love. At times these tracks sound more like Krokus on a bad night. The highlight occurs on the opening track 'King of Dreams' which has a decent hook but for a pop song, the alienating middle section is prolonged and goes nowhere. Next up is 'The Cut Runs Deep' with it's ridiculous, chanted chorus. 'Fire in the Basement' is bad, boring boogie rock. Hearing Ritchie solo over a "follow the chords" boogie blues progression is just godawful. Then Jon gets a turn. You can hear just as good or better at your local open mic (I mean no disrepect to local musicians). From here, the album continues to muddle around in sub mediocrity. It's worse than bad. It's boring. 1 star is too generous (rating: 1/5 whammy bars)

Mk II - Reunited (again)

Battle Rages On - 1992

Is the third time the charm? Well, not exactly although anything to get the taste of 'Slaves and Masters' off the palette is welcome. This is the second time the MKII lineup reunites after breaking up. Evidently Ritchie wanted absolutely no part of working with Gillan anymore but the record company pushed for the classic MK II lineup for the 25th anniversary album and tour and asked Blackmore how much money it would take for him to agree to allow Gillan back into the fold. He said he named a ridiculous number knowing they would never agree to it. But they did, much to his chagrin. After this album, Blackmore left Deep Purple for good, never to return. The album itself suffers from muddy production but all in all, it's a decent Deep Purple record, especially considering their time in the sun had long since passed them by. The title track is riffy enough and Gillan conjures up some interesting self harmonized vocals. 'Lick It Up' sounds like reject 80's hair metal but 'Time to Kill' and 'Ramshackle Man' finally get Jon Lord back into the action with some cool organ licks. 'Ramshackle Man' is a pedestrian blues/boogie shuffle we've all heard a million times but this Time, the soloing from Ritchie and Jon make it a worthwhile listen. 'A Twist in the Tale' features Blackmore's patented 'Spotlight Kid' riff for about the 300th time in his career while 'One Man's Meat' sounds like a throwback to Dio era Rainbow. 'Talk About Love' is a highlight. All in all, this album, while nowhere near the ranks of classic Purple, really isn't too bad. (rating: 3/5 whammy bars)

Mk VI

Purpendicular - 1996

From this point forward, Deep Purple (which always seemed like Ritchie's band) will feel much like an Ian Gillan solo project. 'Purpendicular,' doesn't launch the Steve Morse era off to a very promising start. A gifted, technical guitar player, his style is a departure from Ritchie, and with his signature artificial harmonics and ultra clean, ultra fast speed bursts it's obvious that this is never going to be the classic Deep Purple sound. With Ritchie, even when the albums were sub par you could put a great solo on each song in the bank. But after the 'Battle Rages On', it was obvious that Ritchie's genius no longer outweighed his petulance. Sadly, it wouldn't be the same band without him. There's no need to disparage the Morse era, however, as it is further evidence that Deep Purple is never the same band for long and the different lineups have taught us that the only musical style that is constant with this hard rock band, is that nothing will ever be constant. The album starts off great with 'Ted the Mechanic' and 'Loosen My Strings', the first raucous and rocking and the second a cool, bluesy and soulful number with an interesting ascending chord progression. There are nice moments sprinkled throughout and the musical range is evident when you consider the bona fide celtic reading of 'Cascades' but overall the songs sound generic and boring. A sign of life finally pops up towards the end with 'Somebody Stole My Guitar' but ultimately, clocking in at close to 60 minutes this album suffers from the curse of the CD era, it's just way too long. Editing the material down to say, 35 minutes or so might have made this album flow a lot better and helped it's rating. (rating: 2/5 whammy bars)

Abandon - 1998

Steve Morse's style is more reminiscent of Gillan's old hot shot guitar player Janick Gers than Blackmore's which strengthens the comparison between Morse era Deep Purple and Ian Gillan's solo work. That's not all bad, Gers was a shredder of epic proportions. 'Abandon' is a diverse enough album, stylistically, with a few good ballads mixed in with heavier sounding tracks. A bit of prog is sprinkled in as well, with uneven, but interesting results and a handful of truly great moments along the way. (rating: 3/5 whammy bars)

Mk VII

Bananas - 1996

Bananas? Between the album cover and the title it's easy to assume that this is going to be a really bad album from a band who weren't even trying anymore. And this album does have a strangely carefree attitude about it; the lyrics are fun throughout, Morse and Airey play some terrific solos and the rhythm section is in fine form throughout. The album starts off hot with 'House of Pain,' 'Sun Goes Down' and 'Haunted' which is an unlikely mellow, believable heartbreak ballad from Gillan. There's a sight drop off during the middle of the album where the songs tend to get a bit generic but it still has a lot of nice moments like the cathartic 'Walk On'. It closes out in fine fashion however. 'Bananas,' the title track, has that old school Deep Purple vibe with a wild prog extension at the end. 'Doing It Tonight' is fun and jammy and the album wraps up with a somberly coda from Steve Morse titled 'Contact Lost.' The fun that this album exudes puts it in direct contrast with 'The House of Blue Light'. The material between these two albums is comparable, but the spirit and execution of 'Bananas' makes it so much more enjoyable. (rating: 3.75/5 whammy bars)

Rapture of the Deep - 2005

You just never know what you're gonna get when you spin a Deep Purple platter, lineup wise, music wise and sometimes even quality wise. 'Rapture of the Deep' leads off with 'Money Talks' which is a fittingly unconventional song with bizarre Gillan harmonies and an experimental, disjointed song structure that works. Immediately after, 'Girls Like That' is thoughtless, boring boogie rock/bad pop. However there are a few really solid, fun, interesting tracks that elevates this disc. 'Rapture of the Deep' and 'Back to Back' along with 'Money Talks' are all solid tunes and only 'Wrong Man' is truly bad. The rest of the songs sound better than mere filler. Don Airey shows flashes of brilliance comparable to Lord on this album. There are enough flashbacks to classic Deep Purple with quality guitar and organ solos, jagged rhythyms and exploratory melodies to keep the average Deep Purple fan more than interested. (rating: 3/5 whammy bars)

Now What - 2013

'Weirdistan' is the song on this album that feels like it could be a true throwback to the Deep Purple glory days while retaining a modern day feel. It's by far the strongest song on what is otherwise, an underwhelming record. There's little in the way of experimentation, it's short on prog, there are few if any jaw dropping solos, especially from Morse whose tendency to overplay sabatoges his efforts. Ultimately this is an album made up almost entirely of filler. (rating: 2/5 whammy bars)>

Infinite - 2017

'Infinite' is steeped in twisted up sci-fi themes and paranoid philosophies that give this incarnation of Deep Purple a familiar feel reminiscent of the classic MK II era. Classic Mk II was notable for it's progginess and out of this world, interstellar feel, not in the dreamy, tripping through the cosmos Pink Floyd manner but more like the out of control space ship hurtling wrecklessly towards the wormhole. On 'Infinite' the material shows excellent range, and Bob Ezrin's production is even excellent. There are tons of great workouts from Morse and Airey on this album and most importantly, this album has an energy that is usually lacking in the Morse era Deep Purple. 'Birds of Prey' especially, is a helluva way to close out this album and Morse does some of the best playing of his life with understated, dramatic melodic movement to close this album out. Well, there is one more song after that . . . ahem . . . 'Roadhouse Blues.' Let's pretend that it never happened, better yet, turn off the record as soon as 'Birds of Prey' finishes and you got yourself a damn fine album!

Whoosh - 2020

Is this the last Deep Purple studio album? If it is, they made a pretty cool move in covering 'And the Adress' to close out their career since it is the first song on their first album 'Shades of Deep Purple.' Overall, however, this album is middle of the road. 'Whoosh' suffers from the same mistake so many artists have made since the advent of CD's; what to do with all of that extra time available? Vinyl was a temporally perfect format because of it's forced constraint, afterall an engineer could only cram so much material onto an LP, usually 40-45 minutes and this of course, forced all of the creative powers to make tough decisions regarding which material to include. 'Whoosh' is too long. Ian Paice and Roger Glover prove for the umpteenth time why those two are so great together and Don Airey has defintely become the focus of the band with his amazing chops, melodic ideas, riffiness and expert soloing. Ian Gillan? Well, his vocals ain't what they used to be but has always had a great imagination and creativity and this album is no different. Morse is a brilliant, technical guitarist at times although he's guilty of recycling guitar solos and writing is not his strength. Overall, this is just another average post Blackmore, post Lord album. Nothing is truly terrible on here but nothing really stands out either. If you're looking for a reminder of the glory days of Deep Purple, you won't find it here. But if you're like me, and you just really love these guys and are interested in following their careers, you'll find plenty to enjoy on this record. (rating: 2.5/5 whammy bars)