with an odd sort of basic rhythm, guitar and instrumental
opening, then into the number that has elevated Deep Purple
into the upper reaches of the American charts. Song itself
takes off, on this re-issue, in grand style. One CAN just
understand how it was rather overlooked first time round
here, but there is a lot of talent and style in this production.
Could click now.
(UK music paper, October 12th 1968)
BOOK OF TALIESYN
has been around for a while in the import shops - you may
have noticed John Vemon Lord's excellent sleeve. All the
Harvest sleeves are good, in fact, all being gatefolds or
whatever you call them.
of you may recall, from 1965 or thereabouts, a record by
a group called the Outlaws called "Keep a Knockin'." The
vocals weren't too amazing but there was some really lunatic
guitar playing by Ritchie Blackmore who is now of Deep Purple.
The group have done some fine things for Radio One and they
excite when they play live - that's why I don't understand
where this record went wrong. It is all too restrained somehow.
track is well thought and well played but there is no real
excitement there. Side one is the weaker side with their
American hit, "Kentucky Woman," and a poor version of "We
Can Work It Out." Also on this side is "Wring That Neck"
which they recorded much better for a recent "Top Gear."
two is by far the more interesting side. It opens with "Shield"
which is very good indeed - freer and more relaxed than
anything else on the LP. The second track on this side is
an over-dramatic "Anthem." Perhaps the best thing about
the group is their sense of dynamics and their ability to
lead into familiar themes with unfamiliar and beautifully
constructed instrumentals. This is demonstrated in "River
Deep-Mountain High" which closes this slightly disappointing
(Disc & Music Echo, June 7th 1969)
OF DEEP PURPLE
LP from Deep Purple, currently ridinig high in the American
charts with "Hush". This is one of the so-called "underground"
groups that is not content to play solely blues. There is
a lot of good music here, sometimes interspersed with sound
effects and electronic noises which all adds to the performances.
Listen to "Mandrake Root", it's a driving number with
a powerful vocal from Rod Evans and stirring organ sounds
from Jon Lord (who plays well throughout the LP). "Help"
is taken at a slow tempo and becomes a real plea. Try any
track - they're all great. Strongly recommended to all discerning
pop fans." (UK music paper, 1968)
British group that's been meeting with sensational success
in the US charts.
self-penned item, it's a thick hard-driving r-and-b sound,
with a spirited solo vocal, some startling wowing guitar
work and thundering drums. The
standard of musicianship is unquestionably high, and Deep
Purple's fire and urgency has a rawness and vitality that
are difficult to resist. But the material is not outstanding
by any means, so I can't be too hopeful about it."
Musical Express, February 22nd 1969)
another tasteful and beautifully produced album from Deep
Purple which only serves to deepen the mystery of why they
are still unrecognised in Britain.
the music here lacks a certain immediate impact, and not
all the songs are winners. But there is plenty of evidence
of real musicianship and original thought, especially on
the "April " suite, which is scored for strings. There's
also a pleasing version of Donovan's "Lalena." The group
is strong in all sections, but Jon Lord on keyboards and
Ritchie Blackmore on guitar are particularly effective without
being flashy." (UK
music paper, 1969)