Review Summary: Deep Purple embrace pyschedelics and progginess, resulting in an album that doesn't (and wouldn't) sound like any of their others.
Deep Purple: A Retrospective
Episode III: Deep Purple
The final entry in the work of Mark I, and Deep Purple’s last 60’s output, would be the self-titled album in ’69. Although the band continued developing their own sound, the harder edge that was hinted upon in The
Book of Taliesyn and would be much further established on follow-up
In Rock is nearly completely absent. Rather, Mark I’s final opus focuses on the psychedelic sound of the late 60’s more than ever, and add a small amount of progressive flavour.
Deep Purple Mk. I was:
- Roderick Evans ~ Lead Vocals
- Richard Hugh Blackmore ~ Lead Guitar
- Nicholas John Simper ~ Bass Guitar, Backing Vocals
- Jon Douglas Lord ~ Keyboards, Organ, Backing Vocals
- Ian Anderson Pace ~ Drums
Lord being the main force behind Mark I’s output is perhaps most notable on Purple’s third, as it is more organ/piano-driven than their previous works.
Blind, for example, remains the only track in the band’s discography penned solely by the keyboardist, and focuses on piano and vocals only. The same goes for the sole cover
Lalena (originally by
Donovan). Evans immerses himself in the more theatrical approach here, which, in most cases tends to work with Lord’s classical instrumental approach. Opener
Chasing Shadows has him employing more distant, psychedelic vocals, resulting in a piece that wouldn’t have misfit on Floyd’s
The Piper At The Gates of Dawn.
Fault Line/The Painter, being already the fourth track on the record, is the first point where Blackmore actually gets a chance to kick in with his guitar skills, which immediately results in a catchy blues rocker Ã* la
Listen, Learn, Read On. This continues with
Why Didn’t Rosemary?, which features another great Blackmore solo, as well as the guitar/organ interplay that Mark II would become renowned for.
And after a psychedelic track, two keyboard-driven ones and another two rockers, it is then the final two tracks where the progressive stride really shows.
Bird Has Flown may have Evans’ best vocal performance in his time in the band, and shows how much he has grown since
Shades (too bad for him, because he would get fired soon after the album was released). Its instrumental section combines psychedelic and jazzy features, and bears light resemblance to King Crimson’s
In the Court of the Crimson King.
And for fans of classical music, closing epic
April is the most interesting piece on the album. It is completely unlike anything Deep Purple have ever tried, as Lord pulls out all he’s got with a 12-minute track that is completely orchestrated (and quite well at that, too). With stunning loud guitar, subtle organ and fierce percussion sections, Lord perhaps achieved here best what he always had wanted to: a successful fusion between classical and rock music.
His lead would soon be over though, as Blackmore would take the wheel from Mark II onwards, and eventually leave a few hard rock masterpieces in his wake. Mark I remains an interesting line-up, and although their first, it is perhaps least similar to any other formation than the others. Who takes the time to explore Deep Purple’s work in the 60’s will find that there is more to this band than
Highway Star and
Smoke on the Water. It is not their best period, but it certainly not their worst either. Mark I’s final album is probably also their best, and closes off a musical journey that Deep Purple would very soon leave behind.
