Deep Purple

ARTICLE ABOUT Deep Purple FROM New Musical Express, September 26, 1970

With “Black Night” having long overdue single success, Purple, the ROCK band, were on their way to enormous appreciation from rock fans all over the world. They are deservedly one of the biggest bands in rock history.
Read on!


Single success puzzles Deep Purple

3 months to make chart, but now, by leaping 15 places it`s the week`s fastest climber

By Richard Green

Two years after getting their first American hit, Deep Purple have finally broken the British singles market. Though the group has scored with albums here, the singles haven’t done well at all and that’s rather puzzling. Why has it taken so long for them to get one away at home?
Drummer Ian Paice thinks he has the answer, though he admits to being puzzled about the length of time it took. “Black Night” to enter the chart. And curiously, having done so, it leapt up 15 places this week making it the fastest climber.
“‘Hush’ was the first release of the new company in America and they really went to town on it,” he pointed out. “We haven’t made good enough records here, that’s all.
“Singles aren’t really important, they’re an asset, but not the first thing I’d jump at. A hit single might push our price up by a hundred pounds but that’s nothing when it’s split between the group because it all gets eaten up. It might make the billing a bit better.
“It’s as confusing to us as to everybody else why this single was so slow selling. It was released at the same time as the album — that was at the beginning of July — and we gave it six weeks and thought it was finished. We went to America and thought it was another Purple miss in a long line of flops but we got a `Top Of The Pops` on it while we were away and a lot of plugs and that was it.”
Record-wise, Deep Purple are known primarily as an album group and the rock LP has done a lot of business. Butas Jon Lord said a few weeks ago, the album was needed to re-establish Purple`s true identity. The classical concerts and resultant album backfired somewhat.

“It`s too much heartache getting all that together for one night,” Ian commented. “Richie was the main instigatorof the rock album, pushing it, and I tend to agree with him. You have no freedom doing a classical concert, you just have to watch the bars and I’m not a bars man.
“We wanted to get across what we were doing all the time. We got so much publicity for the classical thing that people expected us to turn up with a ninety-piece orchestra on every gig.
“At one place we played, they had us billed with something like the Snodgrass Silver Band. They went on for forty minutes boring everyone to death… we didn’t even play with them. The whole thing was terrible.”
On the last two occasions that I’ve seen Deep Purple — the Plumpton festival and “South Bank Summer” on TV — a fair amount of equipment wrecking has taken place. I asked Ian if he didn’t think this was getting out of hand.
“It’s not really wrecking,” he replied. “I bought that kit when I was seventeen and I’ve had it seven years now. If I felt bad I’d boot it even in those days, it’s not a question of ‘now I can afford to do it so I will.’
“Plumpton was getting a bit lethargic so we needed to do something. The ‘South Bank Summer’ was getting on everyone’s nerves, I had a camera almost up my nose and I just hit the kit, by which time Richie had hooked his amp over. It’s a primitive release I suppose.”
In Germany, however, Deep Purple adopt a different attitude to knocking things about bit.
“You put a lot more violence in your playing there or the audience get violent and it’s much better for us to get violent than for them to,” he said with the tone of someone who has seen our German friends get out of hand.



Ian was in a slightly quieter mood than I usually find him at night when we frequent the same club. He was relaxed in a chair and smiling rather than raving and taking things seriously as opposed to letting events take hold of him. While he was keeping an even keel, I asked him about America where Deep Purple are very popular.
“I don’t think we’re bigger there than here now. On the first two tours we earned a lot of bread and spent it all here, so you’re back at zero, it’s like you haven’t done anything.
“We left it a long time before going back. The classical thing never got big over there fortunately. We do colleges and universities and a couple of big ballrooms, there’s no club scene where groups can play,” he told me.
Of American acts, he said: “They’re not of a very high standard, the average is pretty low, with the exception of people like Chicago and Blood, Sweat and Tears. British bands are more inventive but it doesn’t follow that they’re better musically.
“I always play better in America than here because I’ve got to – there’s a lot more individual competition, you can never afford to relax. There just isn’t that much competition here.
“I don’t mean that in a conceited way, it’s just that people tend to go on the sound of the band here. You’re not trying to blow each other off in America, it’s just a thing between you and the audience and the other guy.
“The group plays as well here as it does in America, there’s always that little feeling that you’re playing at home and this tends to lead to an effort whether you’re conscious of it or not.”
With all the success of the group it would seem sane to assume that everyone concerned is feeling satisfied. Not so Ian.
“I’m not content yet, no,” Ian admitted. “I’m having a good time now but I want a better time. I dunno what I want to do. Maybe if I did I’d have a better time. I’d like the band to get a lot bigger because it’s worth it.”


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ARTICLE ABOUT Deep Purple FROM New Musical Express, September 12, 1970

Nice to read something from the time of the original “Concerto For Group And Orchestra” concerts. It is strange to think that it is 50 years ago that they did this. It is surely a long time ago.
Read on!


Purple at Hollywood Bowl with Philharmonic

By on-the-spot Allan McDougall

Recently Deep Purple wrote a new unique chapter in modern American history. They played Jon Lord`s “Concerto For Group And Orchestra” with the Los Angeles Philharmonic Orchestra under warm California skies at the Hollywood Bowl.
The audience — well over 10,000 — was pretty equally divided between middle-aged to elderly straight classical season-ticket holders, and young rock freaks. The uniqueness was not of the size of the audience. Deep Purple played to crowds around that size on most of their gigs on this tour.
History was written in the way that the oldies and the kids were united in their acclaim at the end of Concerto.” Everybody, but everybody, in the audience joined together in a long, standing ovation. Not, perhaps, quite so hysterical as the roar that greeted Deep Purple and the London Symphony orchestra last year at the Albert Hall, but somehow more meaningful in that it created a kind of bond between the varied generations of Americans.
The Bowl concert, sponsored by the Los Angeles City Council, was one of a series combining classical and modern music, and afterwards Artistic Director Ernest Flieschman said, “We measure the success of these concerts by how many people remain in the Bowl at the end of each one. With Ravi Shankar, 2,000 people remained and with Isaac Hayes only 600. But only about a hundred and fifty people walked out from the 10,000 at Deep Purple’s show. It was a great success.”
The concert was also successful in that it changed the ideas of most of the L.A. Philharmonic. Rehearsals on the previous day were quite temperament-fraught between the two sets of musicians.
“I felt that my back was burning,” said Jon Lord, “from the looks some of the orchestra were giving me. You know, the usual kind of `who do these long-haired freaks think they are?’ looks. And there was a lot of problems with the sound balance. Finally I had to rent a Hammond organ which could play quiter than my own one!
“Then on the Tuesday rehearsal, things began to click a bit better. One of the violinists beside me was really getting into it, and muttering ‘Yeah, far out’ and such-like to me. Lawrence Foster, the conductor, was really great and worked hard to whip everything into shape.
“And at the end of ‘Concerto,’ when I asked the orchestra to rise and take a bow, well, they almost fainted. I don’t suppose they expected me to know the correct ‘Classical’ etiquette.”


Then it was Jon’s turn to “almost faint” when almost the entire orchestra lined up at Deep Purple’s dressing room to shake hands with the composer!
The evening’s entertainment began with two other kinds of concerto, one of Bach’s and one by Lalo. Each featured solos by 21-year-old violin star Pinchas Zukerman whose control had guitarist Ritchie Blackmore gasping with admiration.
After the intermission, Deep Purple played two of their strongest rock numbers, “Child In Time” and “Wring That Neck” before singer Ian Gillan introduced “Concerto” by saying:
“Our next number is a bit longer.” It was a wise decision of Purple’s to do the two rock numbers, because suddenly Hollywood found what it’s been looking for, for ages — a new guitar hero in the shape of Ritchie Blackmore. One critic summed him up by describing him as having ‘double the technique, twice the speed and half the flash of Alvin Lee.’
And Little Ian Paice came in for some nice praise from the Encino Chronicle’s noted music critic, Denis Rosoff, who described him as being “the most controlled, most interesting drum soloist ever heard at the Bowl.”


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ARTICLE ABOUT Deep Purple FROM New Musical Express, August 22, 1970

Purple was turning back to rock and formidable success would be theirs.
Today my father would have been 80 years of age. You can thank him for this blog, as he inspired my interest in music and literature. He sang and played guitar, piano, harmonica and accordion but almost always only in-doors in our house. The very best father I could have wished for and I can say that I was extremely lucky to have him in my life.
Here`s to all the fathers that we miss and love!
Read on!


Rock album solved Deep Purple rift

By Richard Green

Recording an album of rock did Deep Purple a lot more good than most people realize. It solved a lot of personal problems that arose as a result of the group`s previous classic venture and put an end to a certain amount of snidey comments.
Organist Jon Lord is more than pleased with the sales of “Deep Purple In Rock” but even more elated that people recognise the group for what it is.
“We were playing rock for years and when we did the concert with the orchestra people were saying I was on a classical kick,” Jon told me. “They weren’t coming up to me and saying it, they were saying it behind my back.”
Though the performance at the Royal Albert Hall was a success and the resultant album did well, problems arise within the group.
“People began saying we had no direction, that first we played one thing and then another and this led to personal problems. There wasn’t any argument within the group about doing the classical thing, but when the criticisms started, some members weren’t happy,” Jon explained.
Though Jon regrets all that as being behind Deep Purple now, the group is still going to give two more concerts with an orchestra — one during its current American tour and one later in Britain.
“We were offered the chance of playing with the Los Angeles Symphony Orchestra and it would have been churlish to turn it down,” Jon went on.
“It’s being conducted by Lawrence Foster… he’s a young guy, only about twenth-eight, and he talks about people like Flock. He knows a lot about rock groups.
“Later in the year, probably late September, we’re doing another concert with the BBC orchestra and that will probably be the last for at least a year. We had offers to perform the concerto in major cities round the world, but that would only have added to our problems at the time. Now we’re all sorted out.”
Without a major hit in this country, Deep Purple have become one of the most popular groups around and now earn good money. I asked Jon how they had achieved this position.
“We did six months concentrated effort, working non-stop to let people see us,” he replied. “A lot of the popularity must be word of mouth — someone sees us and tells a couple of friends and next time they come and each tell a couple more. It goes on like that until thousands are mentioning the group and attracting more people to the gigs.


“I enjoy working myself. If we get a few days off, I sit around bored wondering what to do. Here’s plenty I could be getting on with but when I get the time I get restless to work again. I don’t mind working five or six nights a week.”
Maybe I had a premonition about what was going to happen at Plumpton when lead guitarist Ritchie Blackmore set fire to a column speaker, for I asked Jon how much Deep Purple relied on showmanship.
“I’d say about forty per cent maybe. Half the time, nothing’s planned it’s just spontaneous reaction to whatever we happen to be playing. When I throw my organ about it’s just the emotion of the moment,” he said.
Jon and I had been talking in the relaxing atmosphere of his publicist’s London office, a far cry from the packed throng in the artists bar at Plumpton where I located vocalist Ian Gillan a couple of days later.
He agreed wholeheartedly with Jon on the classical and rock subjects, saying: “We’re into rock, it’s as simple as that. I know a lot of people thought we, or at least Jon, were showing a classical influence, but that was all wrong. If they take the trouble to listen to what we were doing before and what we’re doing now then they’ll know where we’re at.
Does he find continual work tiring?
“Not really, when you realise what it can achieve,” he commented. “We purposely didn’t go to America for a few months so that we could work more here and on the Continent and that paid off. The money went up and we got a lot of things together.
But we’ll be cutting down on gigs after this American trip, just doing two or three a week but still getting round the country.”


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ARTICLE ABOUT Deep Purple FROM New Musical Express, June 27, 1970

A great record review that I know the Purple fans following my blog will love to read and maybe discuss. There is no doubt that this record was one of Purple`s very best and most influential. Even the cover is iconic.
Read on!


Million-seller in States, Deep Purple now make album chart here

By Allan McDougall

DEEP PURPLE are one of Britain’s top progressive rock bands, attracting full houses and top money to their concerts all over Europe. Without any previous chart success here, they have built a huge name for themselves with their own brand of powerhouse, exhibitionist – and musicianly – rock.
Although they’ve had a million-selling single in America with “Hush,” and a couple of high-placed albums over there, it wasn’t until last Autumn that the group made any National impact in Britain.
That happened when they performed organist Jon Lord’s “Concerto For Group And Orchestra” at the Royal Albert Hall with the London Philharmonic Orchestra.
Now, with the recently-released “Concerto” album steadily climbing the U.S. chart, Deep Purple are preparing to return for a third American tour, climaxing in a “Concerto” date at the Hollywood Bowl with the Los Angeles Philharmonic. And in Europe, they’ve just released an aptly-titled LP — “Deep Purple In Rock.”
I spoke with drummer Ian Paice last week about the album, the first question being, why a rock album?
“Because rock is really where we are,” he said, peering out from behind his glasses.
“This album is a true reflection of what we actually play on stage. `Concerto’ did us a lot of good, from a publicity kind of angle — and it was a gas doing it — but it gave the wrong impression of Deep Purple.
“People still expect us to turn up to gigs with a 90-piece symphony orchestra in town. ‘Concerto.’ was purely an experimental thing we did. So, when we were planning this one, we decided to keep to our onstage format of crunchy, powerful music.”
And that’s what “Deep Purple In Rock” certainly is. Here, complete with live comments from Ian Paice is an in-depth review:

SPEED KING opens the set at breakneck speed. This is the number with which Deep Purple kick off all their concerts, and – like all their repertoire – is written by all five.
Organist Lord and wonder guitarist Ritchie Blackmore cross-solo in the effective manner which has become a Deep Purple trademark. Singer Ian Gillan’s demonaic laughs and plaintive screechings urge them along.
Ian: “We wanted to do a frantic rock AND roll number, so we used all the standard cliches like ‘Good Golly said Miss Molly’ and ‘Saturday night and I just got paid.’ Which turned out to be the most effective way.”

BLOODSUCKER — Bass player Roger Glover and Blackmore lay down the basic riff over which Paice’s drums choogle along, and the Lord uses a variety of Hammond organ tones. Lacking in melody — but full of boogie.
Ian: “Quite interesting — what we call a lump-blagging song. Ian Gillan, who writes all the lyrics, wanted to get this one out of his system. About all the lines you give a girl when you’re chatting her up.”

CHILD IN TIME — best track on the album. Builds to a terrifying climax with Gillan using his high, mournful castratto voice to maximum effect. Tempo speeds up during middle instrumental passage to give Ritchie Blackmore an opportunity to illustrate why so many of today’s guitar kings name him “The Boss Guitar.” Lyrically very deep.
Ian: “I can see this being regarded as a social and/or political comment song in America. It’s Ian’s comment on the world, and all the mentally blind people in it. But you can take it any way you want. It’s up to you if you want to read any deep significance in the words. We like them very much.”

FLIGHT OF THE RAT. Gillan’s double-tracked vocal is almost indistinct here, which is a drag as the words — printed, by the way, in full on the LP sleeve, are good.
A word of praise for the impeccable Deep Purple rhythm section, Paice and Glover, whose cooking is sometimes overshadowed by the more obvious showmanship of the other three.
Ian: “This is yer anti-drug song. Or anti-booze, or ciggies, or bad temper or whatever your personal hang-up is. It’s an anti-nasty song, about getting rid of all your badness.
“I got the idea for the title when we were fooling around at rehearsal and Ritchie played `Flight of the Bumble Bee,’ and I said, `Ah, Flight of the Rat.’ Ian picked up the idea from there.”

INTO THE FIRE – not meaning to put them down, but perhaps more as a compliment to Deep Purple, this sounds like Arthur Brown and John Fogerty singing over a Jimi Hendrix Experience backing track. And very exciting too.
Ian: “The story of someone who is making a mistake, taking the wrong plunge. This is the one that`s getting the most airplay, I suppose because it’s only three minutes long. Hey, now that the Tories are back in let’s see what happens to their promise to give us Free Radio!”

LIVING WRECK is a mid-paced groover with Lord’s organ screeching like a stuck pig, and some subtle Blackmore guitar.
Ian: “Another personal one of Ian’s. This time the chatting-up tables were turned on him, when a young lady friend of his turned out to be the biggest groupie going!”

HARD LOVIN` MAN is a terrific showcase for Jon Lord’s versatility, and the way he and Ritchie blend their sounds, and phrasing into each other’s.
Ian: “Yeh, the story of Ian’s life when he’s not making music. Nice one. We’re well pleased with the sound on the whole album, but I must say that my own favourite bit is Ritchie’s guitar solo on “Living Wreck,” which isn’t fast or flashy or anything. But it just flows and fits in so beautifully.”


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ARTICLE ABOUT Deep Purple FROM New Musical Express, December 20, 1969

A very good review for this ambitious and highly original project done by Jon Lord and the boys in the Deep Purple.
Read on!


Deep Purple`s classic and pop get-together

Record review:

Deep Purple & The Royal Philharmonic Orchestra: Concerto For Group and Orchestra
(Harvest stereo only SHVL; 33s 6d)

This is the LP recorded live at that sensational concert last summer, when Deep Purple combined with The Royal Philharmonic, under the energetic baton of Malcolm Arnold, to try and prove that pop and classical music need not be poles apart. The reaction to the concert at the Albert Hall was one of immense satisfaction and admiration, but it met with luke-warm receptions from the `heavy` critics.
So, it is not unreasonable to suppose this album will go the same way. In three very varied movements, organist Jon Lord, who wrote the entire work, takes the group and orchestra through the stages of combatants, touch-and-run lovers and finally a rousing, spirited free for all.
The evening was fun, and the album can`t hope to capture the incredible atmosphere, but to the thousands who loved the music, this very fine LP will be a must. And for those who didn`t attend, you`ll be able to find out exactly what you missed.

Deep philhar