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Metal - Released June 1, 1970 | Rhino

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released October 25, 2010 | Parlophone UK

Distinctions The Qobuz Ideal Discography
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Rock - Released June 19, 1995 | Parlophone UK

Distinctions The Qobuz Ideal Discography
After satisfying all of their classical music kinks with keyboard player Jon Lord's overblown Concerto for Group and Orchestra, Deep Purple's soon to be classic Mark II version made its proper debut and established the sonic blueprint that would immortalize this lineup of the band on 1970's awesome In Rock. The cacophony of sound (spearheaded by Ritchie Blackmore's blistering guitar solo) introducing opener "Speed King" made it immediately obvious that the band was no longer fooling around, but the slightly less intense "Bloodsucker" did afford stunned listeners a chance to catch their breaths before the band launched into the album's epic, ten-minute tour de force, "Child in Time." In what still stands as arguably his single greatest performance, singer Ian Gillan led his bandmates on a series of hypnotizing crescendos, from the song's gentle beginning through to its ear-shattering climax and then back again for an even more intense encore that brought the original vinyl album's seismic first side to a close. Side two opened with the searing power chords of "Flight of the Rat" -- another example of the band's new take-no-prisoners hard rock stance, though at nearly eight minutes, it too found room for some extended soloing from Blackmore and Lord. Next, "Into the Fire" and "Living Wreck" proved more concise but equally appealing, and though closer "Hard Lovin' Man" finally saw the new-look Deep Purple waffling on a bit too long before descending into feedback, the die was cast for one of heavy metal's defining albums. © Eduardo Rivadavia /TiVo
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Metal - Released August 7, 2020 | earMUSIC

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When Now What?! was released in 2013 we asked ourselves whether this would be Deep Purple’s final album. Here, the Brits, as usual, bring us a generous helping of hard rock with soaring guitars and Hammond organs with a small side of “quiet strength”. With inFinite in 2017, Deep Purple turned toward a more progressive atmosphere without denying their love for good hard rock. Then, like a fresh breeze in a scorching summer, Whoosh! showed its face. Even Deep Purple didn’t see it coming.With its less grandiloquent production, Whoosh! is more direct and grounded in the moment and shows us a more roots-oriented version of Deep Purple. Don Airey’s keys support an unstoppable rhythm without ever overdoing it, such as on Drop the Weapon which has an almost pub rock sound to it. Steve Morse, as always, displays a reputable soloistic and rhythmic flare (No Need to Shout) while Ian Gillan repeatedly sings of the ups and downs of being a Man Alive.For a blast from the past, and perhaps a classy last hurrah, the group includes a version of And the Address from their first album. The album closes powerfully and with class with Dancing in My Sleep, a demonstration of of mastery and pure fun. Whoosh! finishes in the same way it came about, without warning, but the lasting mark it leaves on the listener is infinite. Only one question remains: Now what?! © Maxime Archambaud/Qobuz
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Metal - Released March 25, 1972 | Parlophone Catalogue

Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head have stood the test of time as the Holy Trinity of English hard rock and heavy metal, serving as the fundamental blueprints followed by virtually every heavy rock & roll band since the early '70s. And, though it is probably the least celebrated of the three, Machine Head contains the "mother of all guitar riffs" -- and one of the first learned by every beginning guitarist -- in "Smoke on the Water." Inspired by real-life events in Montreux, Switzerland, where Deep Purple were recording the album when the Montreux Casino was burned to the ground during a Frank Zappa concert, neither the song, nor its timeless riff, should need any further description. However, Machine Head was anything but a one-trick pony, introducing the bona fide classic opener "Highway Star," which epitomized all of Deep Purple's intensity and versatility while featuring perhaps the greatest soloing duel ever between guitarist Ritchie Blackmore and organist Jon Lord. Also in top form was singer Ian Gillan, who crooned and exploded with amazing power and range throughout to establish himself once and for all as one of the finest voices of his generation, bar none. Yes, the plodding shuffle of "Maybe I'm a Leo" shows some signs of age, but punchy singles "Pictures of Home" and "Never Before" remain as vital as ever, displaying Purple at their melodic best. And finally, the spectacular "Space Truckin'" drove Machine Head home with yet another tremendous Blackmore riff, providing a fitting conclusion to one of the essential hard rock albums of all time. © Eduardo Rivadavia /TiVo
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Metal - Released August 10, 1987 | Rhino

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Rock - Released January 1, 2014 | EMI Music Switzerland AG

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Rock - Released December 1, 1972 | EMI Music Switzerland AG

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Recorded over three nights in August 1972, Deep Purple's Made in Japan was the record that brought the band to headliner status in the U.S. and elsewhere, and it remains a landmark in the history of heavy metal music. Since reorganizing with singer Ian Gillan and bassist Roger Glover in 1969, Deep Purple had recorded three important albums -- Deep Purple in Rock, Fireball, and Machine Head -- and used the material to build a fierce live show. Made in Japan, its selections drawn from those albums, documented that show, in which songs were drawn out to ten and even nearly 20 minutes with no less intensity, as guitarist Ritchie Blackmore and organist Jon Lord soloed extensively and Gillan sang in a screech that became the envy of all metal bands to follow. The signature song, of course, was "Smoke on the Water," with its memorable riff, which went on to become an American hit single. But those extended workouts, particularly the moody "Child in Time," with Gillan's haunting falsetto wail and Blackmore's amazingly fast playing, and "Space Truckin'," with Lord's organ effects, maintained the onslaught, making this a definitive treatment of the band's catalog and its most impressive album. By stretching out and going to extremes, Deep Purple pushed its music into the kind of deliberate excess that made heavy metal what it became, and their audience recognized the breakthrough, propelling the original double LP into the U.S. Top Ten and sales over a million copies. © William Ruhlmann /TiVo
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Rock - Released January 1, 2009 | Parlophone Catalogue

Stormbringer falls short of the excellence of Machine Head and Who Do We Think We Are, but nonetheless boasts some definite classics -- including the fiery "Lady Double Dealer," the ominous title song (a goth metal treasure), the sweaty "High Ball Shooter," and the melancholy ballad "Soldier of Fortune." Most of the other songs on the decent, if uneven, Stormbringer are not essential. Like Come Taste the Band, Stormbringer will be of interest to Deep Purple's more enthusiastic fans, rather than casual listeners who would be much better off starting out with either of the above-mentioned studio projects or the live Made in Japan. © Alex Henderson /TiVo
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Rock - Released September 16, 1984 | Island Def Jam

Deep Purple's definitive Mark II lineup reunited for 1984's Perfect Strangers. It is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years. "Knocking at Your Back Door" opens the album with a roar. Ian Gillan's lyrics don't make much sense, but Ritchie Blackmore's guitar riffs and Ian Paice's thunderous drumming carry this song as well as the rest of the album. The robotic rhythm of the title cut relies on Jon Lord's organ work. The 1999 remastered reissue features the bonus track "Son of Alerik." This fascinating, mid-tempo, ten-minute instrumental was the B-side of the "Perfect Strangers" 12" single in the U.K. © Bret Adams /TiVo
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Metal - Released January 1, 2004 | Parlophone Catalogue

Although it shook the band's fan base to its core, the acrimonious departure of vocalist Ian Gillan and bassist Roger Glover served to rejuvenate Deep Purple in time for 1973's aptly named Burn album, which unquestionably showed huge improvement over their lackluster previous effort, Who Do We Think We Are. And in an interesting twist rarely attempted before or since, new recruits David Coverdale (vocals) and Glenn Hughes (bass and vocals, ex-Trapeze) traded lead singing duties on virtually every one of its songs -- an enviable tag team, as both possessed exceptional pipes. The phenomenal title track started things off at full throttle, actually challenging the seminal "Highway Star" for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice. Up next, the intro to the equally timeless "Might Just Take Your Life," however simple from a technical perspective, remains one of organist Jon Lord's signature moments; and the downright nasty "Lay Down, Stay Down" roared behind wildly careening starts and stops and a fantastic Ritchie Blackmore guitar solo which left no doubt as to who was the band's primal force, regardless of lineup. Moving right along, though it was rarely included in later-day greatest hits sets, "What's Going on Here" was about as good a single as Purple ever wrote; "You Fool No One" was compelling for its sheer intensity; and the funky "Sail Away" was a sign of the band's direction in years to come. Lastly, the fantastic slow-boiling blues of "Mistreated" closed the album proper (let's ignore the record's only throw-away track -- boring final instrumental "A 200") with a command solo performance from Coverdale, as nuanced and sensitive as it was devastating. So impassioned was the singer's delivery, in fact, that the song would remain his personal, in-concert trademark with Whitesnake, long after his tenure with Deep Purple came to a close. Like the vast majority of Burn this song's greatness qualifies it for the highest echelons of hard rock achievement, and therefore ranks as an essential item in the discography of any self-respecting music fan. © Eduardo Rivadavia /TiVo
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Metal - Released April 7, 2017 | earMUSIC

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Rock - Released January 1, 2014 | EMI Music Switzerland AG

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Rock - Released May 1, 2015 | Parlophone UK

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Metal - Released January 1, 2010 | Parlophone Catalogue

When Ritchie Blackmore departed Deep Purple in the mid-'70s and formed Rainbow (which featured Ronnie James Dio), his replacement was Tommy Bolin. To be sure, Blackmore was a darn tough act to follow, but Bolin proved himself to be a fine guitarist in his own right on Come Taste the Band, his first album with Deep Purple. But unfortunately, Bolin didn't have exceptional material to work with -- decent and likable, but hardly exceptional. While sweaty yet melodic cuts like "Dealer," "Lady Luck," and "You Keep on Moving" are far from bad, nothing here is in a class with "Smoke on the Water" or "Highway Star." Deep Purple's more hardcore devotees will want this album, though it's far from the best representation of their '70s work. © Alex Henderson /TiVo
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Metal - Released November 17, 2017 | earMUSIC

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Rock - Released December 6, 2019 | earMUSIC

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Rock - Released September 28, 1998 | Parlophone UK

Of the many anthologies and collections that Deep Purple have released over the years, The Very Best of Deep Purple spans the longest era, covering not only the band's power pop beginnings and '70s heavy metal heyday, but also their '80s and '90s period, a phase where the band re-formed and split up constantly, often falling out of favor with fans in favor of newer metal acts. Most of the set comes from the band's '70s heyday, with a smattering of '60s cuts thrown in, but the addition of cuts from the early '90s will help old fans who may have long since abandoned the band to reconnect with Purple's later years. The addition of newly remastered and remixed versions of the classics act as additional bait to fans who have collected the many previous Purple collections, and the remastered cuts definitely give this an edge over other Purple anthologies, sounding their clearest and sharpest. So while this is arguably the foremost Deep Purple collection, mixing all of the standard Purple classics like "Hush" and "Smoke on the Water" with newer selections, it still comes with some caveats. Too many key album cuts and singles from the band's prime years (such as "Space Truckin'," "Shield," and "No One Came") are jettisoned in favor of some rather pointless selections (like the turgid "Hallelujah"). What's more, while "Perfect Strangers" is as much a key Purple song as anything the band cut before, the rest of the '80s and '90s tracks are forgettable filler, demonstrating, sadly, that Deep Purple's best years are behind them. For casual fans and newcomers, this will be all the Purple they'll need, since it contains the biggest hits in best-ever sound quality, but more dedicated fans will feel cheated by the superficial selection (not to mention the absence of any rarities or previously unreleased cuts). Still, because it gives the biggest overall picture of Deep Purple's evolution, as well as containing the remastered hits, The Very Best of Deep Purple is probably the best Deep Purple collection. © Victor W. Valdivia /TiVo
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Rock - Released July 23, 1990 | Parlophone UK

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Rock - Released May 1, 2015 | Parlophone UK

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