DEEP PURPLE "Machine Head" /CD/

Russian edition of the twelfth full-length studio album by the legendary British Hard Rock band.
It’s the second recording by the re-formed Mark II line-up, considered as classic: Ian Gillan - vocals, congas, harmonica; Ritchie Blackmore - guitar; Roger Glover - bass, synthesizer; Jon Lord - organ, keyboards; Ian Paice - drums.
Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of "Perfect Strangers"), 1987's "House Of Blue Light" has actually stood the test of time just as well, if not better, than its predecessor. This album showed Deep Purple searching for an 80s-flavored hit single, and by doing so, sounding similar to guitarist Ritchie Blackmore's other band, Rainbow.
Of the seventies Hard Rock dinosaurs that still roam the Earth, Deep Purple is one of the few with any credibility left in its crunch. "The House of Blue Light" is certainly a marked improvement over their lukewarm '84 comeback, "Perfect Strangers", and is as good as this band has ever been since its "Smoke On The Water" salad days.
"Bad Attitude" opens the album with five minutes of vintage "Machine Head" sludge - Ian Paice's thunder sticks calling the proceedings to order with a rigid goose-step beat, Ian Gillan raping his tonsils with the vigor of yesteryear. And "Mad Dog" is basically an '87-model "Highway Star," high-speed Metal fortified with Jon Lord's lusty Hammondorgan sound and the brass-knuckle guitar of Ritchie Blackmore.
The band has spiked its old hammer-and-anvil sound with a little future tech here and there: "The Unwritten Law" features subtly deployed electro-hand-claps and percolating sequencer amid its clenched-fist chorus and Blackmore's loco fretwork. But it's only when Purple turns on the retro-charm full blast that "The House Of Blue Light" really goes up in flames. "Hard Lovin' Woman" and "Dead or Alive" are both body-slam rockers in the old blitzkrieg spirit of "Speed King" and "Fireball", while Paice's sledgehammer-of-the-gods drumming and Blackmore's punch-your-lights-out chords keep "Call of the Wild", with its atypically Poppy hook, from turning into neo-Boston fluff.
"Strangeways" and a notable lack throughout the album of classic Blackmore psycho-chicken-scratch soloing, "The House Of Blue Light" is a surprisingly strong return from the tar pits. There's no "Smoke On The Water" here, but Deep Purple still has a pretty good fire going down below!!
Polydor International GmbH, Hamburg/Melodija, 1987/1988 (C60 27357 004). Made in USSR. Used.
 

Tracklist:

Side 1
1. Bad Attitude 04:43
2. The Unwritten Law 04:35
3. Call Of The Wild 04:40
4. Mad Dog 04:31
5. Black & White 03:44

Side 2
6. Hard Lovin' Woman 03:23
7. The Spanish Archer 04:57
8. Strangeways 05:55
9. Mitzi Dupree 05:02
10. Dead Or Alive 04:44

Total playing time: 50:33 min.

First re-release of the twelfth full-length studio album by the legendary British Hard Rock band.
It’s the second recording by the re-formed Mark II line-up, considered as classic: Ian Gillan - vocals, congas, harmonica; Ritchie Blackmore - guitar; Roger Glover - bass, synthesizer; Jon Lord - organ, keyboards; Ian Paice - drums.
Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of "Perfect Strangers"), 1987's "House Of Blue Light" has actually stood the test of time just as well, if not better, than its predecessor. This album showed Deep Purple searching for an 80s-flavored hit single, and by doing so, sounding similar to guitarist Ritchie Blackmore's other band, Rainbow.
Of the seventies Hard Rock dinosaurs that still roam the Earth, Deep Purple is one of the few with any credibility left in its crunch. "The House of Blue Light" is certainly a marked improvement over their lukewarm '84 comeback, "Perfect Strangers", and is as good as this band has ever been since its "Smoke On The Water" salad days.
"Bad Attitude" opens the album with five minutes of vintage "Machine Head" sludge - Ian Paice's thunder sticks calling the proceedings to order with a rigid goose-step beat, Ian Gillan raping his tonsils with the vigor of yesteryear. And "Mad Dog" is basically an '87-model "Highway Star," high-speed Metal fortified with Jon Lord's lusty Hammondorgan sound and the brass-knuckle guitar of Ritchie Blackmore.
The band has spiked its old hammer-and-anvil sound with a little future tech here and there: "The Unwritten Law" features subtly deployed electro-hand-claps and percolating sequencer amid its clenched-fist chorus and Blackmore's loco fretwork. But it's only when Purple turns on the retro-charm full blast that "The House Of Blue Light" really goes up in flames. "Hard Lovin' Woman" and "Dead or Alive" are both body-slam rockers in the old blitzkrieg spirit of "Speed King" and "Fireball", while Paice's sledgehammer-of-the-gods drumming and Blackmore's punch-your-lights-out chords keep "Call of the Wild", with its atypically Poppy hook, from turning into neo-Boston fluff.
"Strangeways" and a notable lack throughout the album of classic Blackmore psycho-chicken-scratch soloing, "The House Of Blue Light" is a surprisingly strong return from the tar pits. There's no "Smoke On The Water" here, but Deep Purple still has a pretty good fire going down below!!
PolyGram Records, Inc. / Mercury, 1987/2013 (831 318-1 M-1). Made in USA.


Tracklist:

Side 1
1. Bad Attitude 4:43
2. The Unwritten Law 4:35
3. Call Of The Wild 4:40
4. Mad Dog 4:51
5. Black & White 3:44

Side 2
6. Hard Lovin' Woman 3:23
7. The Spanish Archer 4:57
8. Strangeways 5:55
9. Mitzi Dupree 5:02
10. Dead Or Alive 4:44

Total playing time: 46:34 min.

Limited Edition re-release of the fourth full-length studio album by legendary British Hard Rock band.
It was the first band's album with the classic Mk II line-up. Rod Evans (vocals) and Nick Simper (bass) had been fired in June 1969 and were replaced by Ian Gillan and Roger Glover, respectively.
The album was preceded by two Singles, the first studio recordings that Gillan made with Deep Purple. The first single, released in 1969, was a Greenaway-Cook composition called "Hallelujah", which flopped. The second single, "Black Night", fared much better as it rose all the way to #2 on the UK charts.
"Deep Purple In Rock" was their breakthrough album in Europe and peaked at #4 in the UK, remaining in the charts for months (the band's prior MK I albums had been much better received in North America than in their homeland). In 2005, the album won the "Classic Rock and Roll of Honour Award" (given by the British monthly magazine Classic Rock) in the category Classic Album.
2018 remastered from the original analogue tapes and cut to vinyl at half speed for optimum sound quality Strictly Limited Edition re-release on Purple Vinyl.
Purpletuity Ltd./HEC Enterprises Ltd./Parlophone Records Ltd., A Warner Music Group Company, 1970/2018 (SHVL 777 / 0190295565107). Made in Germany.


Tracklist:

Side 1
1. Speed King 5:52
2. Bloodsucker 4:16
3. Child In Time 10:18

Side 2
1. Flight Of The Rat 7:53
2. Into The Fire 3:30
3. Living Wreck 4:31
4. Hard Lovin' Man 7:11

Total playing time: 43:10 min.

Eighth re-release of the fifth full-length studio album by the legendary British Hard Rock band.
This is a second album with the classic Mark II lineup, and it was recorded at various times between September 1970 and June 1971.
One of Deep Purple's four indispensable albums (the others being "In Rock", "Machine Head", and "Burn"), 1971's "Fireball" saw the band broadening out from the no-holds-barred Hard Rock direction of the previous year's cacophonous "In Rock". Metal machine noises introduced the sizzling title track - an unusually compact but explosively tight group effort on which Jon Lord's organ truly shined. The somewhat tiring repetitions of "No No No" actually threatened to drop the ball next, but the fantastic single "Strange Kind of Woman" nimbly caught and set it rolling again, just in time for the innuendo-encrusted hilarity of "Anyone's Daughter", featuring one of singer Ian Gillan's first (and still best) humorous storylines to go with one of guitarist Ritchie Blackmore's most uncharacteristic, Bluesiest performances ever. "The Mule" opened the vinyl album's second side with what is perhaps Purple's finest instrumental, and on the hyper-extended "Fools", the band members proved they could flirt with Progressive Rock without plunging off its cliff (although the song could probably have done without its drawn-out middle section). And closing the album was the exceptional "No One Came", where intertwining instrumental lines locked together beautifully, Gillan wove another entertaining yarn that was part autobiography and part Monty Python, and the often underrated skills of drummer Ian Paice helped the song sound so unreservedly fresh and intuitive that one could almost be convinced the band had winged it on the spot. Sure, the following year's "Machine Head" would provide Deep Purple with their commercial peak, but on "Fireball", the formidable quintet was already firing on all cylinders.
The album would become the first of the band's three UK #1 albums. It was certified Gold on July 26, 2001 by the RIAA, selling 500000 copies in the US.
The original UK version had "Demon's Eye" as its third track, but did not include "Strange Kind of Woman," which was instead released as a single there. It was vice-versa on the American and Japanese releases.
Re-edition includes download code for MP3 version of the album.
HEC Enterprises Ltd./Parlophone Records Ltd., A Warner Music Group Company, 1971/2016 (0825646035052 / SHVL 793). Made in Germany for the world. 180 g vinyl in textured gatefold cover.


Tracklist:

Side A
1. Fireball 3:20
2. No, No, No 6:49
3. Demon's Eye 5:17
4. Anyone's Daughter 4:39

Side B
5. The Mule 5:15
6. Fools 8:13
7. No One Came 6:21

Total playing time: 39:54 min.

Remastered re-release of the eleventh full-length studio album by the legendary British Hard Rock band.
It represents the first album for eleven years recorded by the reunited, the most successful and popular 'Mark II' line-up (Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath, Jon Lord from Whitesnake, and Ian Paice from Gary Moore's backing band), the last being "Who Do We Think We Are" in 1973. It was the first Deep Purple studio album in nine years. It is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years.
Long before reunions became big-money pursuits, the key members of Deep Purple put aside differences that caused them to split in 1973 and, bowing not to financial concerns but public demand, reformed for their first album in 11 years and a subsequent blockbuster tour. While the record’s title cleverly acknowledges the long time the musicians spent apart, everything about the album confirms the inimitable blend of creative chemistry, crafty songwriting, and trademark skills shared by the five players.
All the hallmark traits from Deep Purple’s golden era (1970-1973) are on display throughout this platinum comeback affair, which has aged much better than most mid-80s efforts in terms of sound, performance, and content. At times mystical, aggressive, and dramatic, "Perfect Strangers" leaves a lasting impression courtesy of Ian Gillan’s leather-lunged vocal range, Roger Glover’s self-assured bass lines, Ian Paice’s titanium-tough drumming, and the trade-off soloing between the wizard-like, vibrato-emboldened guitar playing of Ritchie Blackmore and voodoo-casting organ spells of Jon Lord.
Compositions such as the hit “Knocking at Your Back Door,” hook-laden title track, and racing “A Gypsy’s Kiss” could be deemed products of a supergroup. Yet calling them so shortchanges the artistry, as the posturing asides and attention-getting episodes common to such projects aren’t here. "Perfect Strangers" is hard, heavy purity, the last album Deep Purple crafted of its kind and one that stands right up to the ensemble’s classic “Fireball” and “Machine Head”!
180 gram heavyweight vinyl with printed inner sleeve. Includes a voucher to download MP3 version of the album.
Deep Purple Overseas Ltd./Universal Music B.V./Polydor, 1984/2016 (0600753635872). Made in EU. Re-press.


Tracklist:

Side One
1. Knocking At Your Back Door 7:00
2. Under The Gun 4:35
3. Nobody's Home 3:55
4. Mean Streak 4:20

Side Two
1. Perfect Strangers 5:23
2. A Gypsy's Kiss 4:40
3. Wasted Sunsets 3:55
4. Hungry Daze 4:44

Total playing time: 38:32 min.

The nineteenth full-length album by the legendary British Hard Rock band.
Legend is back with their best studio album since 1984’s "Perfect Strangers". Deep Purple decided to go back to their roots with "Now What?!" and it paid off.  The band enlisted producer extraordinaire Bob Ezrin to help them capture the spirit and vibe they were looking for.  Ezrin took the band up on their offer and pushed them hard along the way. The result is a classic Deep Purple album that will thrill their hardcore fan base!
Every member made great contributions on the album. Vocalist Ian Gillan and bassist Roger Glover collaborated on the lyrics, impressing the hard to impress Ezrin. Guitarist Steve Morse and keyboardist Don Airey are the true Rock Stars on the album. They gave 110% and it shows in both their songwriting and their playing. Drummer Ian Paice, along with Glover, lay down the groove to allow the others to jam resulting in a great listening experience.
It's the most recent album by Deep Purple, joins "Machine Head" and "In Rock" in the band of iconic albums. "Now What?!" brings the band back to the highest chart positions in over 25 years all over the world!
One week after its release its rewarded by critics and fans to be one of the band's finest moments, marking the peak of a long and glorious career.
Limited edition includes bonus track and a bonus DVD, featuring Deep Purple in conversation plus additional audio material. This edition comes in a nice Digipack with a cut out front cover!
Edel Germany GmbH/earMUSIC, 2013 (0208577ERE). Made in Germany. First press.


Tracklist:

CD:
1. A Simple Song     4:39 
2. Weirdistan     4:14 
3. Out Of Hand     6:11 
4. Hell To Pay     5:12 
5. Bodyline     4:27 
6. Above And Beyond     5:31 
7. Blood From A Stone     5:18 
8. Uncommon Man     7:00 
9. Après Vous     5:26 
10. All The Time In The World     4:21 
11. Vincent Price     4:46 
Bonus Track:
12. It'll Be Me     3:04

DVD:
1. In Conversation     22:34
2. All The Time In The World (Alternative Radio Mix)     3:48
3. Perfect Strangers (Live)     6:42 
4. Rapture Of The Deep (Live)     5:17

Total playing time: 98:30 min.

Remastered re-release of the eleventh full-length album by the legendary British Hard Rock band.
It represents the first album for eleven years recorded by the reunited, the most successful and popular 'Mark II' line-up (Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath, Jon Lord from Whitesnake, and Ian Paice from Gary Moore's backing band), the last being "Who Do We Think We Are" in 1973. It was the first Deep Purple studio album in nine years. It is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years.
Long before reunions became big-money pursuits, the key members of Deep Purple put aside differences that caused them to split in 1973 and, bowing not to financial concerns but public demand, reformed for their first album in 11 years and a subsequent blockbuster tour. While the record’s title cleverly acknowledges the long time the musicians spent apart, everything about the album confirms the inimitable blend of creative chemistry, crafty songwriting, and trademark skills shared by the five players.
All the hallmark traits from Deep Purple’s golden era (1970-1973) are on display throughout this platinum comeback affair, which has aged much better than most mid-80s efforts in terms of sound, performance, and content. At times mystical, aggressive, and dramatic, "Perfect Strangers" leaves a lasting impression courtesy of Ian Gillan’s leather-lunged vocal range, Roger Glover’s self-assured bass lines, Ian Paice’s titanium-tough drumming, and the trade-off soloing between the wizard-like, vibrato-emboldened guitar playing of Ritchie Blackmore and voodoo-casting organ spells of Jon Lord.
Compositions such as the hit “Knocking at Your Back Door,” hook-laden title track, and racing “A Gypsy’s Kiss” could be deemed products of a supergroup. Yet calling them so shortchanges the artistry, as the posturing asides and attention-getting episodes common to such projects aren’t here. "Perfect Strangers" is hard, heavy purity, the last album Deep Purple crafted of its kind and one that stands right up to the ensemble’s classic “Fireball” and “Machine Head”!
The CD and cassette versions of the album contained the extra track "Not Responsible" (one of few Deep Purple songs with profane lyrics, as the word "fu***ng" can be heard in the song).
The album was remastered and reissued on 22 June 1999 with the bonus instrumental 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., 1984.
Thames Records, Ltd./Mercury Records/Polydor Records, 1984/1999 (546 045-2). Made in EU.


Tracklist:
1. Knocking At Your Back Door 7:04
2. Under The Gun 4:38
3. Nobody's Home 3:59
4. Mean Streak 4:21
5. Perfect Strangers 5:28
6. A Gypsy's Kiss 5:12
7. Wasted Sunsets 3:55
8. Hungry Daze 4:58
9. Not Responsible 4:47
Bonus Track:
10. Son Of Alerik 10:07
Total playing time: 54:59 min.

The fourth re-release on CD of the fourth compilation album by the legendary British Hard Rock band.
"24 Carat Purple" is the first compilation album of Deep Purple released worldwide on their own record company. It was released in June 1975.
"24 Carat Purple" appropriately stands proud, among what is now a landslide of collections and hits packages, as a flawless representation of the band's Mark II identity at its very best.
The "Made In Japan" double live album consumes much of the single disc's body weight - the epic renditions of "Smoke on the Water", "Child in Time", and "Strange Kind of Woman" are, after all, among Deep Purple's most resonant moments, while "24 Carat Purple" also lures in collectors with a thunderous "Black Night", recorded at the same shows but omitted from the original album (it has since been appended to the "Made In Japan" CD remaster). With "Woman from Tokyo", "Fireball", and "Never Before" peeling off recent singles and "Speed King" excerpted from "Deep Purple In Rock", "24 Carat Purple" truly is a gold-plated depiction of the band at its all-time peak, before Ian Gillan and Roger Glover went their separate ways and an entire new journey kicked off with "Burn".
The album marked the debut of the live version of "Black Night", originally a B-side in Japan.
All songs written and composed by Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice.
Compilation got Silver status after 60000 copies sold.
EMI Records Ltd., 1975/1983/2001 (EMI 7243 5 34692 2 1). Made in Germany.


Tracklist:
1. Woman From Tokyo 5:49 
2. Fireball 3:25 
3. Strange Kind Of Woman 9:13 
4. Never Before 4:02 
5. Black Night 4:59 
6. Speed King 5:52 
7. Smoke On The Water 7:29 
8. Child In Time 12:19
Total playing time: 53:08 min.

Remastered 25th Anniversary Edition re-release of the fourth full-length album by the legendary British Hard Rock band.
It was the first band's album with the classic Mk II line-up. Rod Evans (vocals) and Nick Simper (bass) had been fired in June 1969 and were replaced by Ian Gillan and Roger Glover, respectively.
The album was preceded by two singles, the first studio recordings that Gillan made with Deep Purple. The first single, released in 1969, was a Greenaway-Cook composition called "Hallelujah", which flopped. The second single, "Black Night", fared much better as it rose all the way to #2 on the UK charts.
"Deep Purple In Rock" was their breakthrough album in Europe and would peak at #4 in the UK, remaining in the charts for months. (The band's prior MK I albums had been much better received in North America than in their homeland.) The album was supported by the hugely successful In Rock World Tour which lasted 15 months.
In 2005 the album won the "Classic Rock and Roll of Honour Award" (given by the British monthly magazine Classic Rock) in the category Classic Album. The award was presented to Ian Gillan, Ian Paice and Jon Lord.
Fully remastered from the original tapes 25th Anniversary Edition contains 7 bonus tracks and 24-page booklet!
Parlophone Records Ltd., A Warner Music Group Company, 1970/1995/2013 (7243 8 34019 2 5). Made in Germany.


Tracklist:
1. Speed King 5:49 
2. Bloodsucker 4:10 
3. Child In Time 10:14 
4. Flight Of The Rat 7:51 
5. Into The Fire 3:28 
6. Living Wreck 4:27 
7. Hard Lovin' Man 6:38 
8. Black Night (Original Single Version) 3:28
Bonus Tracks:
9. Studio Chat 0:33 
10. Speed King (Piano Version) 4:14 
11. Studio Chat 0:25 
12. Cry Free (Roger Glover Remix) 3:20 
13. Studio Chat 0:05 
14. Jam Stew (Unreleased Instrumental) 2:30 
15. Studio Chat 0:40 
16. Flight Of The Rat (Roger Glover Remix) 7:53 
17. Studio Chat 0:31 
18. Speed King (Roger Glover Remix) 5:52 
19. Studio Chat 0:23 
20. Black Night (Unedited Roger Glover Remix) 4:47
Total playing time: 77:18 min.

First remastered re-release of the third full-length studio album (and the last in original Mark I line-up) by the legendary British Progressive Rock/Hard Rock band.
Also known as “April” or “Deep Purple III”, the album was released at a time when the band were starting to grow as performers, both live and in the studio, finding their direction musically. There were some conflicts over whether the band should continue on their rawer, heavier direction. This caused turmoil, which was partially responsible for two of the members Nick Simper (bass) and Rod Evans (vocals) being replaced by Roger Glover and Ian Gillan respectively. Commercially, this album was the least successful of the three Mark I era albums.
This album contains more original songs, seven in total, than on either of their first two albums, now starting to fully endeavor to write original material. The only cover song on the album is "Lalena", which was originally written and performed by Donovan. As an effect of the album's heavier, rawer sound, the individuals of the band, perhaps Ritchie Blackmore and Ian Paice in particular, were starting to really showcase their instrumental abilities, which had both been hidden in the organ-heavy mix on the previous two releases.
Ironically, the band's American label, Tetragrammaton Records, which was rapidly approaching bankruptcy, released this album a lot sooner than EMI did in England, but ran into trouble over the use of the Hieronymus Bosch painting "The Garden of Earthly Delights" on the cover; although it has been on display at the Vatican, the work was wrongly perceived as containing profane images and never stocked as widely in stores as it might've been. It did not come close to the same success as its two predecessors, peaking at No. 162 in the US Billboard charts. Tetragrammaton's financial problems were partially to blame, as promotion was lackluster, and the lack of a hit single or tour support were also factors.
This is one of the most bracing Progressive Rock albums ever, and a successful vision of a musical path that the band might have taken but didn't.
Re-edition features five bonus tracks!
HEC Enterprises Ltd./EMI Records Ltd., 1969/1989/2000 (EMI 7243 5 21597 2 7). Made in EU.


Tracklist:
1. Chasing Shadows 5:34
2. Blind 5:26 
3. Lalena 5:06
4. Fault Line 1:46
5. The Painter 3:51 
6. Why Didn't Rosemary 5:04
7. Bird Has Flown 5:36
8. April 12:10
Bonus Tracks:
9. The Bird Has Flown (Alternate A-Side Vsn.) 2:54
10. Emmaretta (Studio B-Side) 3:00
11. Emmaretta (BBC Top Gear Session) 3:09
12. Lalena (BBC Radio Session) 3:33
13. The Painter (BBC Radio Session) 2:18
Total playing time: 59:27 min.

Remastered re-release of the fifth full-length studio album by the legendary British Progressive Rock/Hard Rock band.
This is a second album with the classic Mark II lineup, and it was recorded at various times between September 1970 and June 1971.
One of Deep Purple's four indispensable albums (the others being "In Rock", "Machine Head", and "Burn"), 1971's "Fireball" saw the band broadening out from the no-holds-barred Hard Rock direction of the previous year's cacophonous "In Rock". Metal machine noises introduced the sizzling title track - an unusually compact but explosively tight group effort on which Jon Lord's organ truly shined. The somewhat tiring repetitions of "No No No" actually threatened to drop the ball next, but the fantastic single "Strange Kind of Woman" nimbly caught and set it rolling again, just in time for the innuendo-encrusted hilarity of "Anyone's Daughter", featuring one of singer Ian Gillan's first (and still best) humorous storylines to go with one of guitarist Ritchie Blackmore's most uncharacteristic, Bluesiest performances ever. "The Mule" opened the vinyl album's second side with what is perhaps Purple's finest instrumental, and on the hyper-extended "Fools", the bandmembers proved they could flirt with Progressive Rock without plunging off its cliff (although the song could probably have done without its drawn-out middle section). And closing the album was the exceptional "No One Came", where intertwining instrumental lines locked together beautifully, Gillan wove another entertaining yarn that was part autobiography and part Monty Python, and the often underrated skills of drummer Ian Paice helped the song sound so unreservedly fresh and intuitive that one could almost be convinced the band had winged it on the spot. Sure, the following year's "Machine Head" would provide Deep Purple with their commercial peak, but on "Fireball", the formidable quintet was already firing on all cylinders.
The album would become the first of the band's three UK #1 albums. It was certified Gold on July 26, 2001 by the RIAA, selling 500000 copies in the US.
The 25th Anniversary Edition contains the original album remastered for CD together with singles, album outtakes (including the previously unreleased “Slow Train”) and exclusive remixes. A 28 page booklet with rare photographs and notes from Roger Glover tells the story of this classic Deep Purple album!!
HEC Enterprises Ltd./EMI Records Ltd., 1971/1996 (EMI 7243 8 53711 2 7).


Tracklist:
1. Fireball 3:24
2. No No No 6:53
3. Demon's Eye 5:20
4. Anyone's Daughter 4:42
5. The Mule 5:21
6. Fools 8:18
7. No One Came 6:25
Bonus Tracks:
8. Strange Kind Of Woman (A-Side Remix 96) 4:05
9. I'm Alone (B-Side) 3:07
10. Freedom (Album Out-Take) 3:34
11. Slow Train (Album Out-Take) 5:35
12. Demon's Eye (Remix 96) 6:09
13. The Noise Abatement Society Tapes 4:15
14. Fireball (Take 1) 4:07
15. Backwards Piano 0:54
16. No One Came (Remix 96) 6:23
Total playing time: 78:32

Compilation album from the legendary British Hard Rock band.
Compilation of tracks from three albums: “Perfect Strangers” (1984), “The House of Blue Light” (1987) and the live album “Nobody's Perfect” (1988).
Polydor/PolyGram Records, 1991 (511 438-2). Made in Germany.


Tracklist:
1. Knocking At Your Back Door     7:02 
2. Bad Attitude     5:07 
3. Son Of Aleric     10:01
4. Nobody's Home     4:00 
5. Black Night     6:07
6. Perfect Strangers     5:19 
7. The Unwritten Law     4:55 
8. Call Of The Wild     4:51 
9. Hush     3:31 
10. Smoke On The Water     7:43
11. Space Trucking     5:39
Total playing time: 64:36 min.



​​​​​​​

The first live album of the “Mark VIII” line-up by the legendary British Hard Rock band.
The band's association with Montreux goes back to the early seventies, when their attempt to record their album "Machine Head" at the Montreux Casino was thwarted when it promptly burnt down, forcing them to make the album in the rooms and corridors of the Grand Hotel instead. The story was, of course, immortalized in their classic song "Smoke On The Water". Few bands are more closely associated with Montreux than Deep Purple, and there was simply no other contender when it came to choosing the act to headline the closing night of the Montreux Festival in 1996.
"Live At Montreux 1996" shows that the Morse-era Purple line-up, even in this early stage, had no problem cranking out the classics!
The CD release features live performances from Montreux in 1996 and 2000:
Track 1-10 recorded live at the Montreux Jazz Festival 9/7/1996;
Track 11-12 recorded live at the Montreux Jazz Festival 22/7/2000.
Eagle Records, 2006 (ER 20087-2). Made in the USA. First press.


Tracklist:
1. Fireball 3:50
2. Ted The Mechanic 4:27
3. Pictures Of Home 5:41
4. Black Night 6:43
5. Woman From Tokyo 5:21
6. No One Came 5:06
7. When A Blind Man Cries 7:29
8. Hey Cisco 5:47
9. Speed King 5:09
10. Smoke On The Water 8:15
Bonus tracks:
11. Sometimes I Feel Like Screaming 6:46
12. Fools 9:41
Total playing time: 74:15 min.

“Rapture of the Deep” is the 18th studio album by Deep Purple, released in November 2005. It is currently the band's most recent studio album.
It is the fourth studio album from Deep Purple since Steve Morse joined the band in 1994. It is also the second album to feature veteran keyboardist Don Airey. The album was produced by Mike Bradford, who also produced the band's previous release “Bananas”. Like “Bananas”, the album was met with a generally positive response from critics and fans. “Rapture of the Deep” is Deep Purple's first release on Edel Records all over the world (with the exception of the USA where the record has been released by Edel long time partner label Eagle Records).
The album peaked on Billboard's USA "Top Independent Albums" Chart at position #43. It achieved considerable chart success in Europe, making the top 20 in several countries.
Edel Records, 2005 (0165542ERE). Made in Germany. First press.


Tracklist:
1.Money Talks 05:23
2.Wrong Man 04:53
3.Girls Like That 04:02
4.Rapture of the Deep 05:55
5.Clearly Quite Absurd 05:25
6.Don't Let Go 04:33
7.Back to Back 04:04
8.Kiss Tomorrow Goodbye 04:19
9.Junkyard Blues 05:33
10.Before Time Began 06:31

The thirteenth full-length studio album by legendary British Hard Rock band.
"Slaves And Masters" was the definitely one of the most controversial and criticized albums of all time in the history of Deep Purple. This formation is known as Mark V, one of the many changes in the band's formation, more than their share of personnel changes over the years. In 1990, their lineup consisted of guitarist Ritchie Blackmore (who had returned to the Purple fold in 1984 after leaving the band to form Rainbow following the release of "Stormbringer" in November 1974), singer Joe Lynn Turner, keyboardist/organist Jon Lord, drummer Ian Paice, and bassist Roger Glover. This is the only Deep Purple album to feature former Rainbow lead vocalist Joe Lynn Turner, who had joined the previous year after the firing of Ian Gillan. Before hiring Turner, the band had considered singer Jimi Jamison of Survivor, but other obligations made him unavailable. Turner was still a member of the band when they began writing and recording their next album in 1992, but under duress from managers who were eyeing a 25th anniversary tour, Deep Purple ultimately decided to bring back Gillan to the line-up for their 1993 studio album "The Battle Rages On...". A handful of working tracks originally intended for the follow-up to "Slaves And Masters" would turn up on subsequent solo releases by Turner. "Too Much Is Not Enough" was re-recorded by Turner for his album "Hurry Up And Wait" (1998).
Longtime Purple followers continued to hope that Blackmore (who made promising contributions to the sound of 1984's reunion LP "Perfect Strangers") would help the band to reclaim the Metal throne, but "Slaves And Masters" was hardly the album to further the cause. The songwriting is weak and pedestrian, and most of the time, the once-mighty Purple (who were at least 16 years past their prime) sound like a generic Foreigner wannabe. The album dramatically sold below expectations, as compared to Deep Purple's previous album, "The House Of Blue Light" with Gillan, which charted at No. 34 in the US.VDespite underwhelming album sales, Deep Purple had a relatively successful tour in support of "Slaves And Masters" in 1991, especially for the band's European leg.
Technically the band stands together and makes a good performance but this album doesn't contain any of the elements that made Deep Purple famous throughout the world. Most tracks are about love with a mix of Whitesnake and 80's Rainbow, the only songs that are actually Hard Rock oriented are "Breakfast In Bed", "Fire In The Basement", and "Wicked Ways" which are the best on the album. Lyrically the album is good; Ritchie, Joe, Roger and the others are great songwriters and they kept their usual performance in this area. The best thing on the album is the production, thanks to Roger Glover - he works not only for bass but also for production, definitely he is one of the greatest artists in the music industry.
All in all, what puts this album in the bottom of the band's discography is the concept, the fact that they composed something that was so usual to hear in the 80's. Nowadays, none of the songs in this album are in the setlist of the band for live shows. It's definitely a consequence of the failure this album was, even the band knows the level this album is at compared with other classics. "Slaves And Masters" is not a a complete disaster, but it's definitely the worst album the band ever made. Although it had a relatively successful tour in 1991, it was way too melodic for the Hard Rock fans of Deep Purple.
Following its release, "Slaves And Masters" peaked at No. 87 on the US Billboard 200 chart.
RCA/ BMG Music, 1990 (74321 18719 2). Made in Germany.


Tracklist:
1. King Of Dreams 5:30 
2. The Cut Runs Deep 5:42 
3. Fire In The Basement 4:43 
4. Truth Hurts 5:14 
5. Breakfast In Bed 5:16 
6. Love Conquers All 3:47 
7. Fortuneteller 5:45 
8. Too Much Is Not Enough 4:19 
9. Wicked Ways 6:35
Total playing time: 46:51 min.

The fourteenth full-length studio album by legendary British Hard Rock band.
Released in 1993, it's the last album recorded with the band's classic MK II line-up, which reunited for a second time (the first reunion being for 1984's "Perfect Strangers"). 
Personality clashes are as much a part of Deep Purple as Ritchie Blackmore's penchant for black clothing. A revolving door of members resulted in different lineups being given their own labels. The most popular version of Purple has always been the Mark II model: Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover, and Ian Paice. This particular quintet has gotten together and had members leave in each of the past three decades, and "The Battle Rages On..." was that lineup's contribution to the '90s. Following a brief stint where former Rainbow vocalist Joe Lynn Turner sang lead for Purple on the prior "Slaves And Masters", Gillan returned for another go-round in 1993. Even though Mike DiMeo was initially chosen as the singer for the album after Joe Lynn Turner was fired, Ian Gillan eventually returned to the band in late 1992 and had to rework much of the material already existing for it, which had been intended for Joe Lynn Turner and DiMeo. After his firing, Turner would admit Ritchie Blackmore referred to the album as "The cattle grazes on". Blackmore became infuriated at the non-melodic elements and quit mid tour after the show of 17 November in Helsinki, Finland. American guitarist Joe Satriani joined Deep Purple as a temporary replacement for the duration of the tour. A handful of working tracks written during "The Battle Rages On..." sessions would turn up on subsequent solo releases by Turner, under different titles.
Personal differences aside, "The Battle Rages On..." picks up on the kind of chemistry that made albums like "Machine Head" and "Perfect Strangers" classics. Three decades on, Blackmore's range on guitar is still impressive as he goes from playing with an arrogant swagger on "One Man's Meat" to a fleet-fingered flamenco intro that kicks off the epic "Anya". Elsewhere, "A Twist in the Tale" plays out with the same kind of intensity as "Highway Star", while the hard-driving title track proved to be prophetic as Blackmore departed the band...
This album is as much a victim of the year it was released in as it was in being associated with the breakup of the band. It comes recommended to fans of Classic Rock and early 70s Metal, but fans of post-Ozzy Sabbath are also encouraged to check this one out. Don’t let the lack of interest fool you, there is some quality material on here!!
RCA/BMG International, 1993 (74321 15420 2). Made in Germany. Pressed in Austria. Re-press.


Tracklist:
1. The Battle Rages On 5:57
2. Lick It Up 4:00
3. Anya 6:32
4. Talk About Love 4:07
5. Time To Kill 5:51
6. Ramshackle Man 5:34
7. A Twist In The Tale 4:17
8. Nasty Piece Of Work 4:36
9. Solitaire 4:42
10. One Man's Meat 4:38
Total playing time: 50:19 min.

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Remastered re-release of the seventh full-length studio album by the legendary British Hard Rock band.
Deep Purple's last album with singer Ian Gillan and bassist Roger Glover until "Perfect Strangers" came out in 1984.
Musically, the record showed a move to a more Blues based sound, even featuring scat singing. Although its production and the band's behavior after its release showed the band in turmoil, with frontman Gillan remarking that "we'd all had major illnesses" and felt considerable fatigue, the album was a commercial success.
The album featured the energetic Hard Rock single "Woman from Tokyo" (is about touring Japan for the first time), which has been performed on several tours by the band over the years. Despite massive sales, the group disintegrated among much infighting between band members as well as conflicts with their managers. The album's line-up would end after a final concert in Osaka, Japan on 29 June 1973.
Deep Purple became the US's top selling artist of calendar year 1973. 
Fans bought the album in record numbers. In the US, for example, it sold half a million copies in its first three months, achieving a Gold record award faster than any Deep Purple album released up to that time. The album hit number 4 in the UK charts and number 15 in the US charts. 
In 2000, "Who Do We Think We Are" was remastered and re-released with bonus tracks. The last bonus track is a lengthy instrumental jam called "First Day Jam”, which features Ritchie Blackmore on bass (Roger Glover, the band's usual bassist, was absent - allegedly lost in traffic).
Deep Purple (Overseas) Ltd./EMI Records Ltd., 1973/2000/2014 (7243 5 21607 2 3). Made in EU.


Tracklist:
1. Woman From Tokyo 5:51
2. Mary Long 4:26
3. Super Trouper 2:56
4. Smooth Dancer 4:14
5. Rat Bat Blue 5:26
6. Place In Line 6:31
7. Our Lady 5:20
Bonus tracks:
8. Woman From Tokyo ('99 Remix) 6:37
9. Woman From Tokyo (Alt. Bridge) 1:26
10. Painted Horse (Studio Out - Take) 5:21
11. Our Lady ('99 Remix) 6:06
12. Rat Bat Blue (Writing Session) 0:56
13. Rat Bat Blue ('99 Remix) 5:49
14. First Day Jam (Intrumental) 11:26
Total playing time: 72:25 min.

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Limited Gold Edition of the twentieth full-length studio album by legendary British Hard Rock band.
No one, least of all Deep Purple themselves, expected the success of 2013's "Now What?!". It placed at number 1 on four European album charts and in the Top 10 of six other countries.
For "InFinite", Deep Purple re-enlisted producer Bob Ezrin. At this point, he is almost a sixth member. This is the longest running lineup in their history. "InFinite" is a heavier and more expansive record than its predecessor. Ian Gillan is in excellent form - still possessing intense expressive power and range, his falsetto remains intact four decades on. Don Airey's organ and keys - so elemental in Deep Purple's musical architecture - is physical, atmospheric, and dynamic. He and guitarist Steve Morse combine brute force with imagination and finesse. Ian Paice, who had a mini-stroke last year, seems to have recovered fully. Roger Glover remains a bassist whose musical signature is so dominant it is only rivaled by Black Sabbath's Geezer Butler.
"InFinite" with all its limitations is an apotheosis of character and talent, the work of a group of men who feel comfortable in their own skin and comfortable with each other, which is weird to even fathom when we come to think of the history of the band. At the end of the day if this is how this story ends, it is a happy end after all. On "InFinite" Deep Purple do what they do best: extrapolate and alchemize the Blues and take it to new Progressive heights!
"InFinite" is a winner; it proves not only that "Now What?!" was no fluke, but that Deep Purple, even at this stage, still have plenty left to offer musically and creatively!!
Limited Gold Edition includes bonus CD with “Live At Hellfest 2017” concert and 24-page booklet.
earMusic, a project of Edel Germany GmbH, 2017 (0212395EMU). Made in Germany.


Tracklist:

CD1 "InFinte - The Studio Album"
1. Time For Bedlam 4:34
2. Hip Boots 3:23
3. All I Got Is You 4:42
4. One Night In Vegas 3:23
5. Get Me Outta Here 3:58
6. The Surprising 5:57
7. Johnny's Band 3:51
8. On Top Of The World 4:01
9. Birds Of Prey 5:47
10. Roadhouse Blues (The Doors Cover) 6:01
Running time: 45:37 min.

CD2 "Live At Hellfest 2017" (100% live and real; 100% previously unreleased)
1. Time For Bedlam 4:59
2. Fireball 3:26
3. Bloodsucker 4:11
4. Strange Kind Of Woman 7:41
5. Uncommon Man 6:40
6. The Surprising 6:01
7. Lazy 7:47
8. Birds Of Prey 5:46
9. Perfect Strangers 7:10
10. Space Truckin’ 5:02
11. Smoke On The Water 6:40
12. Peter Gunn / Hush 7:40
13. Black Night 7:25
Running time: 80:28 min.

Total playing time: 126:05 min.

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AnTrop, 1992 (П91 00127). Made in Russia.

 
Tracklist:

Side A:
1. Stormbringer    4:07
2. Love Don't Mean A Thing    4:24
3. Holy Man    4:30
4. Hold On    5:06
    
Side B:   
5. Lady Double Dealer    3:22
6. You Can't Do It Right    3:24
7. Highball Shooter    4:27
8. The Gypsy    4:03
9. Soldier Of Fortune    3:13
    
Total playing time: 36:36 min.

The sixth full-length studio album by legendary British Hard Rock band.
Deep Purple simply were the finest musicians around in the early 70s. The bands stable line up for this whole period revolves around three of the biggest musicians ever namely: Ian Paice, Jon Lord and Ritchie Blackmore. These guys could simply out play anyone around at the time. Roger Glover, although one of the bands more modest members was a fantastic bassist who has some truly memorable moments on this album, including a bass solo. Ian Gillan is frankly the most fun you’ll ever have with Rock vocals. His range is phenomenal. For many people, it's the first Metal album ever (in terms of performing, sound, and production). For others, it's a simple hybrid attempt of trying to look different. Nonetheless, the influence of this album in the development of Metal music is gigantic!
“Machine Head” gives you everything: catchy songs between powerful tunes. A total machine, able to do whatever you expect from it. It's so Metal and so traditional at the same time. A necessary masterpiece in your collection, no doubt about it!
The Gramophone Company Of India Ltd., EMI Group/Stateside, 1972 (TPSA 7504). Made in India. First press. Used (cover/disc): EX/VG+.


Tracklist:

Side One:
1. Highway Star
2. Maybe I'm A Leo 
3. Pictures Of Home
4. Never Before

Side Two:
5. Smoke On The Water   
6. Lazy
7. Space Truckin

The fourth compilation album by the legendary British Hard Rock band.
"24 Carat Purple" is the first compilation album of Deep Purple released worldwide on their own record company. It was released in June 1975.
"24 Carat Purple" appropriately stands proud, among what is now a landslide of collections and hits packages, as a flawless representation of the band's Mark II identity at its very best.
The "Made In Japan" double live album consumes much of the single disc's body weight - the epic renditions of "Smoke on the Water", "Child in Time", and "Strange Kind of Woman" are, after all, among Deep Purple's most resonant moments, while "24 Carat Purple" also lures in collectors with a thunderous "Black Night", recorded at the same shows but omitted from the original album (it has since been appended to the "Made In Japan" CD remaster). With "Woman from Tokyo", "Fireball", and "Never Before" peeling off recent singles and "Speed King" excerpted from "Deep Purple In Rock", "24 Carat Purple" truly is a gold-plated depiction of the band at its all-time peak, before Ian Gillan and Roger Glover went their separate ways and an entire new journey kicked off with "Burn".
The album marked the debut of the live version of "Black Night", originally a B-side in Japan.
All songs written and composed by Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice.
Compilation got Silver status after 60000 copies sold.
EMI Records Holland B.V., 1975 (5C 038-96424). Made in Holland. Used (cover/disc): VG+/EX.


Tracklist:

SIDE ONE
1. Woman From Tokyo 5:44
2. Fireball 3:19
3. Strange Kind Of Woman 9:02
4. Never Before 3:56
5. Black Night 4:52
Running time: 26:53 min.

SIDE TWO
6. Speed King 5:48
7. Smoke On The Water 7:18
8. Child In Time 12:06
Running time: 25:12 min.

Total playing time: 52:05 min.

The seventh full-length studio album by legendary British Hard Rock band.
Deep Purple's last album with singer Ian Gillan and bassist Roger Glover until "Perfect Strangers" came out in 1984.
Musically, the record showed a move to a more Blues based sound, even featuring scat singing. Although its production and the band's behavior after its release showed the band in turmoil, with frontman Gillan remarking that "we'd all had major illnesses" and felt considerable fatigue, the album was a commercial success.
The album featured the energetic Hard Rock single "Woman from Tokyo" (is about touring Japan for the first time), which has been performed on several tours by the band over the years. Despite massive sales, the group disintegrated among much infighting between band members as well as conflicts with their managers. The album's line-up would end after a final concert in Osaka, Japan on 29 June 1973.
Deep Purple became the US's top selling artist of calendar year 1973. 
Fans bought the album in record numbers. In the US, for example, it sold half a million copies in its first three months, achieving a Gold record award faster than any Deep Purple album released up to that time. The album hit number 4 in the UK charts and number 15 in the US charts.
Warner Bros. Records Inc./WEA Music Of Canada, Ltd., 1973 (BS 2678). Made in Canada. First press. Used (cover/disc): EX/EX+.


Tracklist:

Side 1
1. Woman From Tokyo 5:50
2. Mary Long 4:25
3. Super Trouper 2:56
4. Smooth Dancer 4:10


Side 2
1. Rat Bat Blue 5:23
2. Place In Line 6:31
3. Our Lady 5:12

The thirteenth full-length studio album by legendary British Hard Rock band.
"Slaves And Masters" was the definitely one of the most controversial and criticized albums of all time in the history of Deep Purple. This formation is known as Mark V, one of the many changes in the band's formation, more than their share of personnel changes over the years. In 1990, their lineup consisted of guitarist Ritchie Blackmore (who had returned to the Purple fold in 1984 after leaving the band to form Rainbow following the release of "Stormbringer" in November 1974), singer Joe Lynn Turner, keyboardist/organist Jon Lord, drummer Ian Paice, and bassist Roger Glover. This is the only Deep Purple album to feature former Rainbow lead vocalist Joe Lynn Turner, who had joined the previous year after the firing of Ian Gillan. Before hiring Turner, the band had considered singer Jimi Jamison of Survivor, but other obligations made him unavailable. Turner was still a member of the band when they began writing and recording their next album in 1992, but under duress from managers who were eyeing a 25th anniversary tour, Deep Purple ultimately decided to bring back Gillan to the line-up for their 1993 studio album "The Battle Rages On...". A handful of working tracks originally intended for the follow-up to "Slaves And Masters" would turn up on subsequent solo releases by Turner. "Too Much Is Not Enough" was re-recorded by Turner for his album "Hurry Up And Wait" (1998).
Longtime Purple followers continued to hope that Blackmore (who made promising contributions to the sound of 1984's reunion LP "Perfect Strangers") would help the band to reclaim the Metal throne, but "Slaves And Masters" was hardly the album to further the cause. The songwriting is weak and pedestrian, and most of the time, the once-mighty Purple (who were at least 16 years past their prime) sound like a generic Foreigner wannabe. The album dramatically sold below expectations, as compared to Deep Purple's previous album, "The House Of Blue Light" with Gillan, which charted at No. 34 in the US.VDespite underwhelming album sales, Deep Purple had a relatively successful tour in support of "Slaves And Masters" in 1991, especially for the band's European leg.
Technically the band stands together and makes a good performance but this album doesn't contain any of the elements that made Deep Purple famous throughout the world. Most tracks are about love with a mix of Whitesnake and 80's Rainbow, the only songs that are actually Hard Rock oriented are "Breakfast In Bed", "Fire In The Basement", and "Wicked Ways" which are the best on the album. Lyrically the album is good; Ritchie, Joe, Roger and the others are great songwriters and they kept their usual performance in this area. The best thing on the album is the production, thanks to Roger Glover - he works not only for bass but also for production, definitely he is one of the greatest artists in the music industry.
All in all, what puts this album in the bottom of the band's discography is the concept, the fact that they composed something that was so usual to hear in the 80's. Nowadays, none of the songs in this album are in the setlist of the band for live shows. It's definitely a consequence of the failure this album was, even the band knows the level this album is at compared with other classics. "Slaves And Masters" is not a a complete disaster, but it's definitely the worst album the band ever made. Although it had a relatively successful tour in 1991, it was way too melodic for the Hard Rock fans of Deep Purple.
Following its release, "Slaves And Masters" peaked at No. 87 on the US Billboard 200 chart.
RCA/Mega International Records/Balkanton, 1990 (BTA 12718 / PL90535). Made in Bulgaria. First press. Used (cover/disc): NM/EX-.


Tracklist:

Side A
1. King Of Dreams 5:30
2. The Cut Runs Deep 5:42
3. Fire In The Basement    4:43
4. Fortuneteller 5:45

Side B
5. Truth Hurts 5:14
6. Love Conquers All 3:47
7. Breakfast In Bed 5:16
8. Too Much Is Not Enough 4:19
9. Wicked Ways 6:35

Total playing time: 46:51 min.

The twelfth full-length studio album by the legendary British Hard Rock band.
It’s the second recording by the re-formed Mark II line-up, considered as classic: Ian Gillan - vocals, congas, harmonica; Ritchie Blackmore - guitar; Roger Glover - bass, synthesizer; Jon Lord - organ, keyboards; Ian Paice - drums.
Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of "Perfect Strangers"), 1987's "House Of Blue Light" has actually stood the test of time just as well, if not better, than its predecessor. This album showed Deep Purple searching for an 80s-flavored hit single, and by doing so, sounding similar to guitarist Ritchie Blackmore's other band, Rainbow.
Of the seventies Hard Rock dinosaurs that still roam the Earth, Deep Purple is one of the few with any credibility left in its crunch. "The House of Blue Light" is certainly a marked improvement over their lukewarm '84 comeback, "Perfect Strangers", and is as good as this band has ever been since its "Smoke On The Water" salad days.
"Bad Attitude" opens the album with five minutes of vintage "Machine Head" sludge - Ian Paice's thunder sticks calling the proceedings to order with a rigid goose-step beat, Ian Gillan raping his tonsils with the vigor of yesteryear. And "Mad Dog" is basically an '87-model "Highway Star," high-speed Metal fortified with Jon Lord's lusty Hammondorgan sound and the brass-knuckle guitar of Ritchie Blackmore.
The band has spiked its old hammer-and-anvil sound with a little future tech here and there: "The Unwritten Law" features subtly deployed electro-hand-claps and percolating sequencer amid its clenched-fist chorus and Blackmore's loco fretwork. But it's only when Purple turns on the retro-charm full blast that "The House Of Blue Light" really goes up in flames. "Hard Lovin' Woman" and "Dead or Alive" are both body-slam rockers in the old blitzkrieg spirit of "Speed King" and "Fireball", while Paice's sledgehammer-of-the-gods drumming and Blackmore's punch-your-lights-out chords keep "Call of the Wild", with its atypically Poppy hook, from turning into neo-Boston fluff.
"Strangeways" and a notable lack throughout the album of classic Blackmore psycho-chicken-scratch soloing, "The House Of Blue Light" is a surprisingly strong return from the tar pits. There's no "Smoke On The Water" here, but Deep Purple still has a pretty good fire going down below!!
Polydor/PolyGram Records, Inc., 1987 (831 318-1). Made in Canada. First press. OIS. Used (cover/disc): EX+/EX.


Tracklist:

Side 1
1. Bad Attitude 4:43
2. The Unwritten Law 4:35
3. Call Of The Wild 4:40
4. Mad Dog 4:51
5. Black & White 3:44

Side 2
6. Hard Lovin' Woman 3:23
7. The Spanish Archer 4:57
8. Strangeways 5:55
9. Mitzi Dupree 5:02
10. Dead Or Alive 4:44

Total playing time: 46:34 min.

The twelfth full-length studio album by the legendary British Hard Rock band.
It’s the second recording by the re-formed Mark II line-up, considered as classic: Ian Gillan - vocals, congas, harmonica; Ritchie Blackmore - guitar; Roger Glover - bass, synthesizer; Jon Lord - organ, keyboards; Ian Paice - drums.
Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of "Perfect Strangers"), 1987's "House Of Blue Light" has actually stood the test of time just as well, if not better, than its predecessor. This album showed Deep Purple searching for an 80s-flavored hit single, and by doing so, sounding similar to guitarist Ritchie Blackmore's other band, Rainbow.
Of the seventies Hard Rock dinosaurs that still roam the Earth, Deep Purple is one of the few with any credibility left in its crunch. "The House of Blue Light" is certainly a marked improvement over their lukewarm '84 comeback, "Perfect Strangers", and is as good as this band has ever been since its "Smoke On The Water" salad days.
"Bad Attitude" opens the album with five minutes of vintage "Machine Head" sludge - Ian Paice's thunder sticks calling the proceedings to order with a rigid goose-step beat, Ian Gillan raping his tonsils with the vigor of yesteryear. And "Mad Dog" is basically an '87-model "Highway Star," high-speed Metal fortified with Jon Lord's lusty Hammondorgan sound and the brass-knuckle guitar of Ritchie Blackmore.
The band has spiked its old hammer-and-anvil sound with a little future tech here and there: "The Unwritten Law" features subtly deployed electro-hand-claps and percolating sequencer amid its clenched-fist chorus and Blackmore's loco fretwork. But it's only when Purple turns on the retro-charm full blast that "The House Of Blue Light" really goes up in flames. "Hard Lovin' Woman" and "Dead or Alive" are both body-slam rockers in the old blitzkrieg spirit of "Speed King" and "Fireball", while Paice's sledgehammer-of-the-gods drumming and Blackmore's punch-your-lights-out chords keep "Call of the Wild", with its atypically Poppy hook, from turning into neo-Boston fluff.
"Strangeways" and a notable lack throughout the album of classic Blackmore psycho-chicken-scratch soloing, "The House Of Blue Light" is a surprisingly strong return from the tar pits. There's no "Smoke On The Water" here, but Deep Purple still has a pretty good fire going down below!!
Polydor/PolyGram Records, Inc., 1987 (831 318-1). Made in Germany. First press. OIS. Used (cover/disc): EX/EX+.


Tracklist:

Side 1
1. Bad Attitude 4:43
2. The Unwritten Law 4:35
3. Call Of The Wild 4:40
4. Mad Dog 4:31
5. Black & White 3:44

Side 2
6. Hard Lovin' Woman 3:23
7. The Spanish Archer 4:57
8. Strangeways 5:55
9. Mitzi Dupree 5:02
10. Dead Or Alive 4:44

Total playing time: 46:34 min.

The twelfth full-length studio album by the legendary British Hard Rock band.
It’s the second recording by the re-formed Mark II line-up, considered as classic: Ian Gillan - vocals, congas, harmonica; Ritchie Blackmore - guitar; Roger Glover - bass, synthesizer; Jon Lord - organ, keyboards; Ian Paice - drums.
Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of "Perfect Strangers"), 1987's "House Of Blue Light" has actually stood the test of time just as well, if not better, than its predecessor. This album showed Deep Purple searching for an 80s-flavored hit single, and by doing so, sounding similar to guitarist Ritchie Blackmore's other band, Rainbow.
Of the seventies Hard Rock dinosaurs that still roam the Earth, Deep Purple is one of the few with any credibility left in its crunch. "The House of Blue Light" is certainly a marked improvement over their lukewarm '84 comeback, "Perfect Strangers", and is as good as this band has ever been since its "Smoke On The Water" salad days.
"Bad Attitude" opens the album with five minutes of vintage "Machine Head" sludge - Ian Paice's thunder sticks calling the proceedings to order with a rigid goose-step beat, Ian Gillan raping his tonsils with the vigor of yesteryear. And "Mad Dog" is basically an '87-model "Highway Star," high-speed Metal fortified with Jon Lord's lusty Hammondorgan sound and the brass-knuckle guitar of Ritchie Blackmore.
The band has spiked its old hammer-and-anvil sound with a little future tech here and there: "The Unwritten Law" features subtly deployed electro-hand-claps and percolating sequencer amid its clenched-fist chorus and Blackmore's loco fretwork. But it's only when Purple turns on the retro-charm full blast that "The House Of Blue Light" really goes up in flames. "Hard Lovin' Woman" and "Dead or Alive" are both body-slam rockers in the old blitzkrieg spirit of "Speed King" and "Fireball", while Paice's sledgehammer-of-the-gods drumming and Blackmore's punch-your-lights-out chords keep "Call of the Wild", with its atypically Poppy hook, from turning into neo-Boston fluff.
"Strangeways" and a notable lack throughout the album of classic Blackmore psycho-chicken-scratch soloing, "The House Of Blue Light" is a surprisingly strong return from the tar pits. There's no "Smoke On The Water" here, but Deep Purple still has a pretty good fire going down below!!
PolyGram Records, Inc. / Mercury, 1987 (831 318-1 M-1). Made in USA. First press. OIS. Used (cover/disc): NM/EX+.


Tracklist:

Side 1
1. Bad Attitude 4:43
2. The Unwritten Law 4:35
3. Call Of The Wild 4:40
4. Mad Dog 4:51
5. Black & White 3:44

Side 2
6. Hard Lovin' Woman 3:23
7. The Spanish Archer 4:57
8. Strangeways 5:55
9. Mitzi Dupree 5:02
10. Dead Or Alive 4:44

Total playing time: 46:34 min.

The eleventh full-length studio album by the legendary British Hard Rock band.
It represents the first album for eleven years recorded by the reunited, the most successful and popular 'Mark II' line-up (Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath, Jon Lord from Whitesnake, and Ian Paice from Gary Moore's backing band), the last being "Who Do We Think We Are" in 1973. It was the first Deep Purple studio album in nine years. It is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years.
Long before reunions became big-money pursuits, the key members of Deep Purple put aside differences that caused them to split in 1973 and, bowing not to financial concerns but public demand, reformed for their first album in 11 years and a subsequent blockbuster tour. While the record’s title cleverly acknowledges the long time the musicians spent apart, everything about the album confirms the inimitable blend of creative chemistry, crafty songwriting, and trademark skills shared by the five players.
All the hallmark traits from Deep Purple’s golden era (1970-1973) are on display throughout this platinum comeback affair, which has aged much better than most mid-80s efforts in terms of sound, performance, and content. At times mystical, aggressive, and dramatic, "Perfect Strangers" leaves a lasting impression courtesy of Ian Gillan’s leather-lunged vocal range, Roger Glover’s self-assured bass lines, Ian Paice’s titanium-tough drumming, and the trade-off soloing between the wizard-like, vibrato-emboldened guitar playing of Ritchie Blackmore and voodoo-casting organ spells of Jon Lord.
Compositions such as the hit “Knocking at Your Back Door,” hook-laden title track, and racing “A Gypsy’s Kiss” could be deemed products of a supergroup. Yet calling them so shortchanges the artistry, as the posturing asides and attention-getting episodes common to such projects aren’t here. "Perfect Strangers" is hard, heavy purity, the last album Deep Purple crafted of its kind and one that stands right up to the ensemble’s classic “Fireball” and “Machine Head”!
Polygram Records, Inc./Thames Records, LTD, 1984 (823 777-1). Made in Holland. First press. Used (cover/disc): EX+/NM-.


Tracklist:

Side One
1. Knocking At Your Back Door 7:00
2. Under The Gun 4:35
3. Nobody's Home 3:55
4. Mean Streak 4:20

Side Two
1. Perfect Strangers 5:23
2. A Gypsy's Kiss 4:40
3. Wasted Sunsets 3:55
4. Hungry Daze 4:44

Total playing time: 38:32 min.

The eleventh full-length studio album by the legendary British Hard Rock band.
It represents the first album for eleven years recorded by the reunited, the most successful and popular 'Mark II' line-up (Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath, Jon Lord from Whitesnake, and Ian Paice from Gary Moore's backing band), the last being "Who Do We Think We Are" in 1973. It was the first Deep Purple studio album in nine years. It is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years.
Long before reunions became big-money pursuits, the key members of Deep Purple put aside differences that caused them to split in 1973 and, bowing not to financial concerns but public demand, reformed for their first album in 11 years and a subsequent blockbuster tour. While the record’s title cleverly acknowledges the long time the musicians spent apart, everything about the album confirms the inimitable blend of creative chemistry, crafty songwriting, and trademark skills shared by the five players.
All the hallmark traits from Deep Purple’s golden era (1970-1973) are on display throughout this platinum comeback affair, which has aged much better than most mid-80s efforts in terms of sound, performance, and content. At times mystical, aggressive, and dramatic, "Perfect Strangers" leaves a lasting impression courtesy of Ian Gillan’s leather-lunged vocal range, Roger Glover’s self-assured bass lines, Ian Paice’s titanium-tough drumming, and the trade-off soloing between the wizard-like, vibrato-emboldened guitar playing of Ritchie Blackmore and voodoo-casting organ spells of Jon Lord.
Compositions such as the hit “Knocking at Your Back Door,” hook-laden title track, and racing “A Gypsy’s Kiss” could be deemed products of a supergroup. Yet calling them so shortchanges the artistry, as the posturing asides and attention-getting episodes common to such projects aren’t here. "Perfect Strangers" is hard, heavy purity, the last album Deep Purple crafted of its kind and one that stands right up to the ensemble’s classic “Fireball” and “Machine Head”!
Polydor/Polygram Records, Inc., 1984 (823 777-1). Made in Germany. First press.


Tracklist:

Side One
1. Knocking At Your Back Door 7:00
2. Under The Gun 4:35
3. Nobody's Home 3:55
4. Mean Streak 4:20

Side Two
1. Perfect Strangers 5:23
2. A Gypsy's Kiss 4:40
3. Wasted Sunsets 3:55
4. Hungry Daze 4:44

Total playing time: 38:32 min.

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The ninth re-release of the fifth full-length studio album by legendary British Hard Rock band.
This is a second album with the classic Mark II lineup, and it was recorded at various times between September 1970 and June 1971.
One of Deep Purple's four indispensable albums (the others being "In Rock", "Machine Head", and "Burn"), 1971's "Fireball" saw the band broadening out from the no-holds-barred Hard Rock direction of the previous year's cacophonous "In Rock". Metal machine noises introduced the sizzling title track - an unusually compact but explosively tight group effort on which Jon Lord's organ truly shined. The somewhat tiring repetitions of "No No No" actually threatened to drop the ball next, but the fantastic single "Strange Kind of Woman" nimbly caught and set it rolling again, just in time for the innuendo-encrusted hilarity of "Anyone's Daughter", featuring one of singer Ian Gillan's first (and still best) humorous storylines to go with one of guitarist Ritchie Blackmore's most uncharacteristic, Bluesiest performances ever. "The Mule" opened the vinyl album's second side with what is perhaps Purple's finest instrumental, and on the hyper-extended "Fools", the band members proved they could flirt with Progressive Rock without plunging off its cliff (although the song could probably have done without its drawn-out middle section). And closing the album was the exceptional "No One Came", where intertwining instrumental lines locked together beautifully, Gillan wove another entertaining yarn that was part autobiography and part Monty Python, and the often underrated skills of drummer Ian Paice helped the song sound so unreservedly fresh and intuitive that one could almost be convinced the band had winged it on the spot. Sure, the following year's "Machine Head" would provide Deep Purple with their commercial peak, but on "Fireball", the formidable quintet was already firing on all cylinders.
The album would become the first of the band's three UK #1 albums. It was certified Gold on July 26, 2001 by the RIAA, selling 500000 copies in the US.
The original UK version had "Demon's Eye" as its third track, but did not include "Strange Kind of Woman," which was instead released as a single there. It was vice-versa on the American and Japanese releases.
Remastered 2018 with the half speed cut by Barry Grint at Alchemy, strictly limited edition 180 g Purple Vinyl in textured gatefold cover.
Purpletuity Ltd./Parlophone Records Ltd., A Warner Music Group Company, 1971/2018 (0190295565091 / SHVL 793). Made in Germany. 


Tracklist:

Side A
1. Fireball 3:20
2. No, No, No 6:49
3. Demon's Eye 5:17
4. Anyone's Daughter 4:39

Side B
5. The Mule 5:15
6. Fools 8:13
7. No One Came 6:21

Total playing time: 39:54 min.

The eighth official re-release of the debut full-length studio album by legendary British Progressive/Psychedelic/Hard Rock band.
The band, initially called Roundabout, was the idea of former Searchers drummer Chris Curtis, who recruited Jon Lord and Ritchie Blackmore before leaving the project. The Mk. I line-up of the band was completed by vocalist/frontman Rod Evans, along with bassist Nick Simper and drummer Ian Paice, in March 1968.
After about two months of rehearsals, "Shades Of Deep Purple" was recorded in only three days in May 1968 and contains four original songs and four covers, thoroughly rearranged to include classical interludes and sound more psychedelic. Stylistically the music is close to Psychedelic Rock and Progressive Rock, two genres with an ever growing audience in the late 60s. The album was released in July 1968 on Tetragrammaton in the United States and in September 1968 on Parlophone in the United Kingdom. 
The usual perception of early Deep Purple is that it was a band with a lot of potential in search of a direction. And that might be true of their debut LP. From the opening bars of "And the Address," it's clear that they'd gotten down the fundamentals of Heavy Metal from day one, and at various points the Electricity and the Beat just surge forth in ways that were startlingly new in the summer of 1968. Ritchie Blackmore never sounded less at ease as a guitarist than he does on this album, and the sound mix doesn't exactly favor the heavier side of his playing, but the rhythm section of Nick Simper and Ian Paice rumble forward, and Jon Lord's organ flourishes, weaving classical riffs, and unexpected arabesques into "I'm So Glad", which sounds rather majestic here. "Hush" was the number that most people knew at the time, and it is a smooth, crunchy interpretation of the Joe South song. But nobody could have been disappointed with the rest of this record - one can even hear the very distant origins of "Smoke on the Water" in "Mandrake Root", once one gets past the similarities to Jimi Hendrix's "Foxy Lady"; by the song's extended finale, they sound more like the Nice. Their version of "Help" is one of the more interesting reinterpretations of a Beatles song, as a slow, rough-textured dirge. "Hey Joe" is a bit overblown, and the group clearly had to work a bit at both songwriting and their presentation, but one key attribute that runs through most of this record is a spirit of fun; these guys are obviously having the time of their lives rushing through their limited repertoire, and it's infectious to the listener; it gives this record much more of a '60s feel than we're accustomed to hearing from this band.
The album was not well received in the UK, where it sold very little and did not chart. In the US, on the other hand, it was a success and the single "Hush" became very popular at the time, reaching number 4 on the US Billboard Hot 100 chart. The good sales of the album and the intense radio play of the single contributed largely to the attention Deep Purple would get in their early US tours and also during the 70s. Modern reviews of the album are generally positive and consider "Shades Of Deep Purple" an important piece in the history of Deep Purple.
HEC Enterprises/Parlophone Records Ltd., A Warner Music Group Company, 1968/2015 (PCSR 7055 | 0825646138357). Made in Germany. 


Tracklist:

Side One
1. And The Address 4:38
2. Hush 4:24
3. One More Rainy Day 3:40
4. Prelude-Happiness / I'm So Glad 7:19

Side Two
5. Mandrake Root 6:09
6. Help 6:01
7. Love Help Me 3:49
8. Hey Joe 7:33

Total playing time: 43:33 min.

Remastered re-release of the third full-length studio album (and the last in original Mark I line-up) by the legendary British Progressive Rock/Hard Rock band.
Also known as “April” or “Deep Purple III”, the album was released at a time when the band were starting to grow as performers, both live and in the studio, finding their direction musically. There were some conflicts over whether the band should continue on their rawer, heavier direction. This caused turmoil, which was partially responsible for two of the members Nick Simper (bass) and Rod Evans (vocals) being replaced by Roger Glover and Ian Gillan respectively. Commercially, this album was the least successful of the three Mark I era albums.
This album contains more original songs, seven in total, than on either of their first two albums, now starting to fully endeavor to write original material. The only cover song on the album is "Lalena", which was originally written and performed by Donovan. As an effect of the album's heavier, rawer sound, the individuals of the band, perhaps Ritchie Blackmore and Ian Paice in particular, were starting to really showcase their instrumental abilities, which had both been hidden in the organ-heavy mix on the previous two releases.
Ironically, the band's American label, Tetragrammaton Records, which was rapidly approaching bankruptcy, released this album a lot sooner than EMI did in England, but ran into trouble over the use of the Hieronymus Bosch painting "The Garden of Earthly Delights" on the cover; although it has been on display at the Vatican, the work was wrongly perceived as containing profane images and never stocked as widely in stores as it might've been. It did not come close to the same success as its two predecessors, peaking at No. 162 in the US Billboard charts. Tetragrammaton's financial problems were partially to blame, as promotion was lackluster, and the lack of a hit single or tour support were also factors.
This is one of the most bracing Progressive Rock albums ever, and a successful vision of a musical path that the band might have taken but didn't.
2014 remaster. Released with Vinyl Collector download card containing a code for MP3 version of the album. The laminated gatefold outersleeve opens vertically to reveal the full Hieronymus Bosch painting "Hell", the third panel of "The Garden of Earthly Delights" c. 1490–1510.
Harvest/HEC Enterprises Ltd./Parlophone Records Ltd., A Warner Music Group, Company, 1969/2016 (SHVL 759 | 0825646033959). Made in Germany.


Tracklist:

Side 1
1. Chasing Shadows 5:34
2. Blind 5:26 
3. Lalena 5:06
4. (a) Fault Line 1:46
    (b) The Painter 3:51 

Side 2
1. Why Didn't Rosemary 5:04
2. Bird Has Flown 5:36
3. April 12:10

Total playing time: 43:55 min.