ВІНІЛОВІ ПЛАТІВКИ

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.

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.

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.

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.
Purple Records/EMI Records Ltd./Harvest, 1975 (TPSM 2002 / 0C 054 o 96424). Made in UK. First press. OIS. Used (cover/disc): EX+/NM-.


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 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.

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.

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.

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.

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 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!
180 gram heavyweight vinyl in gatefold cover includes fold-out poster.
Deep Purple (Overseas) Ltd./Universal International Music B.V., 1972/2015 (0600753635827 | 3635827). Made in the Netherlands. Pressed in Czech.


Tracklist:

Side 1
1. Highway Star 6:05    
2. Maybe I'm A Leo 4:51
3. Pictures Of Home 5:03
4. Never Before 3:56

Side 2
1. Smoke On The Water 5:40
2. Lazy 7:19
3. Space Truckin' 4:31

Total playing time: 37:25 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

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 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.

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.

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.

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.


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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 (LPR 16595 | 831 318 1). Made in the USA. First press. OIS. Used (cover/disc): NM (still in seal)/EX+.


Tracklist:

Side A
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 B
1. Hard Lovin' Woman 3:23
2. The Spanish Archer 4:57
3. Strangeways 5:55
4. Mitzi Dupree 5:02
5. Dead Or Alive 4:44

Total playing time: 46:34 min.