The Highway Star reader Albania reviews =1
My first listen to the material from =1 was somewhat unusual/disjointed as it occurred incoherently in bits and pieces (at airports, in the car driving my kids to soccer matches, in the office, etc.). Thus, this review might seem a bit disorderly given the various mental notes at the various times (i.e. first when each single came out, then the album), but hang in there …
Overall, =1 is an excellent effort by the mighty Purple that will have its unique, respected place in the band’s significant catalogue. One of the most distinguished Deep Purple features – partly because of the various marks, but not only – has been the diversity of offerings where no two albums are alike. If one were to experiment by creating a playlist of all the band’s songs and then played said songs in random order, those unfamiliar with the band would have a hard time realizing that the material belongs to the same group, and, sometimes, even the same mark.
There is variety throughout each mark’s albums, but, obviously, that variety becomes even more significant across the various marks. And =1 surely does not disappoint. With the song compositions, structure and arrangements, not to mention the unique sound of Mark IX, the band has succeeded in striking the delicate balance between producing something that sounds fresh, yet recognizable as Deep Purple. Such a feat, more than 56 years after its original incarnation, is simply remarkable.
With four out five existing members together since 2002, one might not necessarily expect much variation from the band’s prior records, especially the prior three (sans Turning to Crime) with Bob Ezrin as producer. But there is plenty of variety in =1. And this is not only a testament to the new banjo player’s ability to take over for the amazing Steve Morse while putting his own stamp on the music, but also speaks volumes to the band’s willingness and ability to push themselves artistically rather than stick with tried-and-true formulas.
I moved to the States for school in the mid-90s and, between then grunge’s meteoric rise and the somewhat lack of Deep Purple awareness (especially compared to Led Zeppelin) amongst my school mates, I found myself listening less and less to the band that I had grown up with and had come to worship. In fact, perhaps in an unconscious effort to clean the slate, I had probably gone close to a year without regularly listening to Purple. Then, one day in 1997, as fate would have it, I stumbled upon an unfamiliar album at a record store in Tucson, AZ. That album was Purpendicular. I bought it on instinct. I remember getting home that day and playing it reluctantly, pretty much expecting to find myself back in familiar territory. Boy, was I wrong?!?
Purpendicular was fresh and fun. It showcased a band on fire that can only be compared to a wild animal that had just been uncaged. It simply kicked my butt; start to finish. Ritchie will always be my guitar hero, but the shot in the arm that Steve gave to my favorite band some thirty years ago can never be overstated. I have tremendously enjoyed all of the albums that the band has put out with Steve (including Turning to Crime), not to mention the numerous live shows and the backstage moments.
Thus, it is with mixed emotions that I share my thoughts on a Deep Purple album without the individual that was instrumental (pun intended 😉) in keeping the band alive, helping them lick their wounds, and rebuild their brand. However, the band needed to carry on after Steve’s understandable departure. Had they taken a temporary hiatus, the likelihood of an immediate and permanent dissolution would have been extremely high. And =1 is proof that carrying on without Steve was the right decision for the band.
A friend that moved from London to my town around 2020 started telling me a few years ago about some shows he had attended in small London venues/pubs featuring a guitar player from Belfast. He would play music by said guitarist, and then would often wonder why many people had not heard of him. Fast forward to February 2023, at the State Theater in New Brunswick, NJ, and I am watching my favorite group live again, but for the first time without Steve (I never got to see them with Ritchie ☹). And, who is on guitar? None other than the Belfast kid! Simon was excellent. He was confident, but not arrogant. It was clear that he had the chops to handle a bigger stage than what he was used to prior to joining the Purps. But what about writing new material with the band? Did he have creative capabilities? Well, =1 has now settled that for me.
There is no urge for me to compare =1 with any prior albums by the band. Simply the fact that Deep Purple, formed in the late sixties, has put out an album with 13 new songs in the year 2024 is truly beyond belief and, in itself, worth celebrating. And the fact that the album is full of excellent material is a bonus on top; it stands out on its own as a fine effort by a band that, despite all odds, is, decades later, still here, very much alive and well. Like the other four members, Simon surely deserves credit for this.
Numerous gun slingers are available for hire, but with the new album Simon has shown that he was certainly the right fit for the band. He has brought his own style, sound, and attitude. There are instances where he sounds loyal to Ritchie (the outro to Lazy Sod, which to me has elements from the outro to Strange Kind of Woman), and instances where he sounds loyal to Steve (the interplay between Don and Simon in Now You’re Talkin’, which to me has elements from the interplay between Don and Steve in Cascades: I’m Not Your Lover). And I can also hear some Gary Moore, especially in some of the long notes, tone, and sound (If I Were You and I’ll Catch You). This is all normal; his predecessors also had their influences and points of reference. What =1 makes clear, however, is that while Simon is willing and able to acknowledge his predecessor, he is not afraid to carve his own path and, in doing so, help the band continue to evolve. A win-win in my book.
=1 is full of great material. The song quality is strong throughout and there are no obvious fillers. There are a couple of minor questionable moments, but mainly from a technical/production perspective. For instance, after the superb interplay between Don and Simon in Now You’re Talkin’, the band eventually returns with what one hopes would be a climax/explosive ending, but, instead, because of the fadeout, it feels a bit like a gradual, safe landing. Also, the transition between Pictures of You and I’m Saying Nothing seems a bit odd. But if you play Pictures of You followed immediately by Portable Door, then the transition seems more natural. Anyone else notice the same? For me these are just minor issues that do not take anything away from the album’s great overall quality.
The record company and band were smart to release the singles that they did, and in the order that they did. With elements of Pictures of Home and Black Night, it feels like Portable Door was meant to first satisfy the cravings of diehard fans. Pictures of You, in addition, was likely aimed at those that were somewhat familiar with Purple, but were not necessarily up to date on the present state of affairs. Finally, Lazy Sod, on the other hand, seems like the song that could potentially pique the interest of not only those that are current on Deep Purple, but also those that might know the name but aren’t aware that the band is still actively touring and recording. The three singles are excellent and are a good representation of the album.
The album highlight, however, is Bleeding Obvious. The opening theme, which returns throughout the song, seems to contain motifs of folk music from the part of Europe that I grew up in, which would not surprise me given references to said music in songs like Pictures of Home, Rapture of the Deep, etc. With Bleeding Obvious the band delivers a Master Class on how to write a rather complex piece of music that contains numerous and various musical elements, themes, and styles that only Deep Purple can package together in a way that sounds fresh, interesting, and unforced. The music prowess of each band member comes through clearly, and perhaps better than in any other song on the album. Bleeding Obvious would be epic live, especially as a closing number.
Had the album been released back in the 70s when listening to music was a much more immersive experience, =1 would have been even more successful than it will ultimately be. Unfortunately, however, we live in the age of ultra-short attention span and instant gratification. Not to mention that the so called “rock” radio stations have their playlists compiled by advertising executives, rather than by proper DJs. Thus, the likelihood of =1 getting any airplay, at least in the States, is slim. But my heroes have been here (underground) before, and their wonderful music will prevail, sooner or later.
=1 is a strong album that will only grow stronger over time. With more listens, it will surely carve its respected place in the band’s significant catalogue. Overall, it is a great effort by a band that, despite being around since the late sixties, still sounds fresh, current, and relevant. It is a blessing that the guys are still here and cranking. I can hardly wait to see them live with a bunch of friends (including some first timers) in late August and early September in NY and CT.
You are a wonder, Deep Purple. Keep soaring.
Albania
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