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

Deep Purple’s drum tech Cimi Mezzano posts a vlog summarizing his day on tour with the band. Continue Reading »

Simon McBride gave an interview to the Ultimate Guitar. It is short on length, but not on substance:

I recently interviewed Steve Morse, and he praised your playing. Are you aware that Steve Morse is a fan of your playing?

No, I’m not aware of it. That’s an amazing thing to hear because Steve is one of the icons of the guitar world. He comes from that period of time of guitarists, which were just phenomenal stage playing. I know he has problems with his wrists due to arthritis and stuff like that.

But you know, when you get older, it’s hard to maintain all that technique anyway. But what he was doing back then was just frightening. I remember watching a few videos from the Dregs and his own thing, going, ‘How does he do that? That is unbelievable.’

So, I’m very, very, very privileged that he’s a fan. Because it’s always nice to hear when somebody of that caliber, he knows what they’re talking about. If Steve likes my playing, that means I’m doing something right.

Continue reading in Ultimate Guitar.

Some time in June, Just before the start of the tour, Ian Paice was interviewed by Paltrocast. He spoke about the band’s writing process, why Deep Purple are more popular in some countries than the others, how he keeps sane on the road, and a few other things. Enjoy! Continue Reading »

This article will be updated regularly with the new data. Consider this an invitation to send us information (with proof links) on how the album is doing in your country. Continue Reading »

Deep Purple were featured in the BBC Radio 2 show The Rock Show with Johnnie Walker that aired on July 19, 2024. Ian Gillan and Roger Glover were guests of the show. You can listen to it on the BBC player, where it will be available for 30 days after the first airing. Gillan’s bit starts at approximately 14 minutes into the show, where he tells the story of him trying to prove to a robot that he is a human. Roger appears at around the 44-minute mark, introducing his pick for the rock god — Gary Moore.

Thanks to Darker Than Blue for the heads-up.

UK newspaper The Independent has a feature on Deep Purple, with a review of =1, and an interview with Ian Gillan.

It’s also, I suggest, a surprisingly lusty record for a band who long since swapped the Jack bottle for the travel kettle. “You mean salacious?” Gillan chuckles. “It’s a bit naughty in places I suppose, but it’s only very mild and at my age [78], really, come on. [But] I’m a night person, I live the nightlife, I’m in rock’n’roll and I mix with exciting people. We don’t live in the conventional world.”

He cites “A Bit on the Side”, the true story of meeting a beautiful young woman in an “adult club” in Germany. “I poured her a glass of champagne and she sat down, we talked. She said her name was Charlene from Berlin, and we had a lot of interesting things [in common] – I had been to some interesting places and so had she. We were winding down and I noticed that she needed a shave. It turned out she wasn’t really Charlene from Berlin. She was Charlie from Belfast.” “I don’t care which way you lean,” Gillan sings, mingling the political with the overtly sexual with a tongue-lapping wail, “I don’t want no left or right/ I want front ’n back/ and a little bit o’ lovin’ on the side.”

Read more in The Independent.

Thanks to BraveWords for the heads-up.

Simon Zyla (Wieliczka, Poland) sends us this review of =1

Steve Morse is on this album

I’ll make no secret of the fact that I’m ‘Steve’s baby’ and a fan – all my Deep Purple listening for over 30 years has been Morse on guitar. So I will always look for his distinctive sound in new recordings. His ‘Music Man’ and his guitar effects and unique techniques.

And I was surprised to find that…. you can hear Steve’s sounds a few times on ‘=1’. There are moments where Simon plays like Steve. Then I’m as happy as a child! Maybe these songs could be played together on stage one day – that’s my dream…. Certainly more realistic than playing Deep Purple with the “man in black”, hehe

By the way, I’ve discovered that listening to ‘=1’ I’m starting to perceive DP’s albums with Morse differently. There was so much talk about Steva always playing the same thing – the same repetitive solos. It’s only now, when I hear a different guitarist on a Deep Purple album, that I appreciate how varied Morse played.

No – I’m not belittling McBride’s abilities! The “plucked man” (that’s his hair, hehe) can also play like Blackmore on this album. Even that RB from Rainbow! Look it up, but it’s easy… He’s great, he’s not a guitar genius (like 3 of his predecessors), but he found his way into this music very well!

Well, and thanks to him, I understand you now! All of you who couldn’t get over the fact that Ritchie wasn’t in Deep Purple (still can’t, hehe). Just like I listen to my band without Morse now. It’s such a salty-bitter listening experience, different in perception…. I have to learn it, I have to accept it.

Jesus Christ Superstar

Do you remember that Gillan recording “My Heart Remains The Same” with that Greek guy (Michael Rakintzis)? There are two ballads on the “=1” album, seemingly cool, but somehow to me they “don’t spark” (and that’s the most important thing in a good ballad). When I listened to them I was immediately reminded of that Rakintzis from 1992. There it was everything Ian Gillan needed to show his vocal genius.

I know he’s not that young anymore, that his voice has already worn out, but he hasn’t always been able to do that so far. I’ve already written about it in the comments IG needs a brilliant guitarist to ‘fire up’ and go into those wonderful areas of his (not necessarily ‘high’, just ‘other’ – the amazing ones) as a result of the friction (as in ‘Strange Kind of Woman’ from Japan).

On ‘=1’ we got the kind of at times heavily rock’n’roll Gillan from the Javelins days. Yes – we were also missing such a dynamic big Ian. But at times it’s sadly weak – these are the moments that we’re being pushed onto records nowadays, which in the past (in the days of vinyl) would have ended up on the B-sides of a single. I really dislike this release policy, because it makes us out of great albums into mediocre ones (=1 also suffers from this). Fortunately we have a way around this – you can make yourself a different playlist in your CD/streaming player.

Well, I thought I wouldn’t find it…. However, there is one moment from IG that sends shivers down my spine. At one point we are taken back in time to 1970. We hear his young voice again! The voice from the rock opera Jesus Christ Superstar. Wonderful…

Remaster?

This album has a strange sound. It’s been ‘rearranged’, ‘twisted’, or perhaps made too ‘harsh’ or ‘prickly’. It’s completely different from the last albums. Bob’s so-called ‘trilogy’ was structured, sonically balanced, with each of these albums having depth and a certain majesty of its own. Here, unfortunately, I find it difficult to listen to, especially the weaker moments on the album.

Of course, there are exceptions – this is, by the way, the umpteenth time in a row that we get a very energetic, rhythmic and ‘bass’ track at almost the same point in the album, and it’s absolutely amazing! I suppose this is down to Roger, who is just incredible. I love that moment on ‘=1’!

I have a feeling there are more hidden sounds, melodies and details in there that I’ll discover over time. I don’t know if I’m right, but I think the sound engineers have spoiled this album for them. It’s a shame – I can’t believe that Purple played these tracks so ‘flat’ in the studio. I don’t think so…

So a ‘remaster’ is immediately required (I know, sic! ;-)), with a rearranged order of some tracks, and certainly one that starts at the wrong time and hurts. Ouch… Maybe the vinyl version won’t have this flaw, I’ll have to check it out!

On the occasion of the vinyl version – perhaps then this album will sound better, more ‘fat’? We’ll see…

Perhaps the ‘rough’ sound is partly due to the different charter of these recordings – here we have a new energy, a different pace. My namesake Simon wreaks a bit of havoc on the album. The tempo is completely different.

The word ”different” is very important in the context of this album. Because I’m trying not to compare it to other albums by the band. It is simply a record of that time and the form the band was in. For me, the concerts have not been such a ‘record of the time’ for a long time, unfortunately. They are played to cater for the ‘music tourists’ expecting ‘Smoke’ and the rest from Machine Head. Not for the fans – that’s sad. Well, that’s how the factory works…

And for the fans (i.e. us!) these records are recorded in the studio and for that I wanted to thank Deep Purple that you still do it!

Short summary

‘=1’ will probably be a controversial album for fans – probably something like ‘Come Taste the Band’. Some will love it and others will say it’s weak. I don’t know yet – I need to get some distance from these recordings again, because I’ve listened to them too much. Let these recordings burn out, win out (child) ‘in time’. And we’ll see.

Simon Zyla (Wieliczka, Poland)

The Highway Star reader Jameson Rock reviews =1

I’ll be brief: Deep Purple In Rock was the first album I ever bought, =1 is the album I’ve been waiting 50 years for. (Well, apart from the fade-out on Now You’re Talking!)

I thought they’d find it hard to follow Whoosh! but =1 is just such good fun. Let’s hope it’s not their last.

Jameson Rock

The Highway Star reader Roska Posti reviews =1

I became a Deep Purple fan in about 1997, and the two first current albums, Abandon and Bananas, blew me away. The problem was that while Rapture of the Deep is half-great, half-baked, those two left me waiting for them to follow up every time a new Purple album comes around.

While neither is perfect, Now What?! (All The Time In The World is probably their best latter-day song) and Infinite (Time For Bedlam blew everything out of the water and set the bar *too* high for the rest of the album) delivered more than enough to keep me happy. Whoosh had me questioning my wits, as my favourite band failed to come up with a great song. It took me over a year and many restless listens to get to Nothing At All, which then, luckily, became that one great song. I was afraid it would be the last.

I am happy to say the new album is major improvement over Whoosh. The truly great songs are still yet to reveal themselves, but once I heard Pictures of You, I knew the record would be worth waiting for. And it is.

While all age-related caveats apply – and how could they not – the band have come up with several real songs, and not just jams and middle-parts. There are some things that could have been done slightly differently in lyrical terms (Sharp Shooter being the main offender here, AC/DC releasing “a shot in the dark beats a walk in the park” as their lead single from their last album), and some (I’m guessing idiosyncratic Ezrin) production and structure choices come off as unnecessary …

Nevertheless, especially the two slow songs appeal to me, and I’m inclined to think balladeering is where Gillan’s voice works best these days. I am also happy he doesn’t try to hard. There are several false starts for another Time For Bedlam or House Of Pain, with Now You’re Talkin’ and No Money To Burn getting the closest to what I was hoping to hear. Bleeding Obvious is another song worth mentioning, closing up the proceedings in an almost triumphant way.

=1 is not a necessary or revelatory album at any point, but in anticipation of the next Bananas (which will never come), it’s good enough to be a new Deep Purple album.

Roska Posti