Hush

"Violent 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)

 THE BOOK OF TALIESYN

"This 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.

    Some 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.
    Each 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."      Side 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 album."
review: John Peel
(Disc & Music Echo, June 7th 1969)

SHADES OF DEEP PURPLE 

"FIRST 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)

  Emmaretta 

"A British group that's been meeting with sensational success in the US charts.
    A 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."    (New Musical Express, February 22nd 1969)

 DEEP PURPLE  

"Yet another tasteful and beautifully produced album from Deep Purple which only serves to deepen the mystery of why they are still unrecognised in Britain.
Admittedly, 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)