"ALTHOUGH it's had a couple of big ones in the States, Deep Purple has yet to register here at home. And it's just possible that this could do the trick - it's one of those numbers that could either be a smash hit or a massive flop! Penned by the Greenaway-Cook team, it's a medium-pacer with a strong gospel-revivalist flavour. lan Gillan delivers the preacher-like lyrics effectively, though I could have done without the screams, while the bluesy organ and strident guitar maintain an atmospheric backcloth. A disc that's laden with mystique and compulsion, and which - in its more inspired moments - develops a rock-like quality."
(week ending August 2nd 1969, NME)


"A stunningly good album from a group that proves several things on it: 1/ That rock, given a fresh stab and alert material, is still one of the most rewarding areas of contemporary music. 2/ That it need not all be frenzy, but can also reach out and project a message when it's cool and wistful. 3/ That Ritchie Blackmore is not merely a fast guitarist, but one with immense style and presence. The recording quality here is so good that, perhaps for the first time, the textures of some fine instrumentalists, and let's not forget a powerrful singer, are given the correct emphasis. On "Child In Time" lan Gillan's blistering vocal, moralising in too general terms about the State Of Things, is matched only in style by Blackmore's masterly guitar work which is completely in context. His sympathy with the mood of each work throughout this album is quite remarkable. Jon Lord's exciting work at the organ is another strength and as a unit they are perfectly integrated. A magnificent album, which no enthusiast of today's music dare miss."
(1970, UK music paper)


"DEEP PURPLE have the disadvantage of having to live up to a reputation, but they'll have no worries with 'Fireball'. They also have to keep up a stream of good sounds, while fending off attempts by other groups to pick their brains and musical originality. They'll manage that too. With the exception of one back, 'Fireball' is undiluted, funky Purple. The exception, a sad inclusion to an othenwise extremely good album, is 'Anyone's Daughter'. Ian Gillan's vocals aren't really suitable for Dylanesque talking blues, and as the words come close to banal, the whole number just comes over as a send up. If it was intended as such, it seems an awful waste of time and effort.
   Now for the good news, and that's the re
maining six tracks. While they an different in musical and lyrical content, they have kept an identifiable theme running through with strong organ and bass lines from Jon Lord and Roger Glover. For arrangement and all over goodness, 'Fools' is half a head in front. Emotive searing words are fitted to a tight drum/guitar accompaniment, with a plaintive organ backing soaring through it all.
  Again with the accent on the words, 'No One Came' follows a close second. The songs all seem rather bitter-sweet, but create good feelings all the same
   Quality-very good. Value for money-yes, definitely."   (1971, Disc)


"Just like its magnificent predecessor "Machine Head", this double album, which captures Deep Purple at their very best in the Land Of The Rising Sun, more than substantiates the undisputed truth that they're one of the few groups who have managed to combine creative intelligence with complex high-energy electric rock.
   Following in the grand tradition of great British rock bands, the Purple Gang - perhaps, even more so than ELP - have in their own inimitable way extended the early experiments of The Nice. However, in no way are Deep Purple plagiarists, they are what they play, and that's the reason why they enjoy mass acceptance. Purple have two major assets that The Nice lacked - an exceedingly professional full-lunged front man in lan Gillan, and the greased- lightnin' digital gymnastics of guitarist Richie Blackmore.
   In many ways, a "live" album is the best media for any first-class road band to present their music. Even though there can be faults in balance and mix, you can still judge the band for what they're worth. This particular album - worth double the price - will consolidate Purple's enviable position and convert many new fans. Though each is a virtuoso, neither Jon Lord, lan Paice, Roger Glover, Gillan or Blackmore allow their individual skffls to get out of hand and detract from the collective performance.
   You may have heard all seven cuts before - but not played with such power, exuberance and sheer confidence.
   This power is largely boosted by the responsive audiences Purple played to in both Tokyo and Osaka. Indeed, half the enjoyment is in the two-way rapport between band and fan.
   To Purple's credit you don't need to dissect every track, because they maintain such a high standard of performance throughout. I detect a new-found funki- ness in their intense drive. Jon Lord improves with each and every album - his keyboard dexterity is clear and precise even in the extremely fast passages. He disciplines himself, never allowing his playing to deteriorate into a meaningless jumble.
   With brash confidence and showmanship, Richie Blackmore wields his axe, in a manner the makers didn't account for. He extracts a whole spectrum of discordant effects and runs his fingers over the strings with incredible speed.
   As a unit Glover and Paice come on strong, fortifying the front line and also having individual work outs. Little lan's drumnastics on "The Mule" are much more than "just another" drum solo.
   With such competition, one doesn't envy lan Gillan's position as singer, yet it never becomes a pitched battle between who can sing/play louder than the other. Gillan's delivery of "Highway Star", "Child In Time" and "Strange Kind Of Woman" elevates him to the exclusive front man fraternity of Stewart, Jagger, Rodgers, Plant, and Daltrey.
   When reviewing albums, I always work on the maxim, "Would I Buy This Record". As far as Deep Purpte's 'Made In Japan' is concerned, I have no hesitation in saying YES."
  (1972, UK music paper)

All of these reviews are selected from the

sixteen pages containing over 100 contemporary newspaper and magazine reviews covering Deep Purple releases from 1968-1982
It is available exclusively from the dpas online store.


"THIS is the LP recorded live at that sensational concert last summer, when Deep Purple combined with The Royal Philharmonic, under the energetic baton of Malcolm Arnold, to try and prove that pop and classical music need not be poles apart. The reaction to the concert at the Albert Hall was one of immense satisfaction and admiration, but it met with luke-warm receptions from the 'heavy critics."
So, it is not unreasonable to suppose this album will go the same way. In three very varied movements organist Jon Lord, who wrote the entire work, takes the group and orchestra through the stages of combatants, touch-and-run lovers and finally a rousing, spirited free for all.
The evening was fun, and the album can't hope to capture the incredible atmosphere, but to the thousands who loved the music, this very fine LP will be a must. And for those who didn't attend, you'll be able to find out exactly what you missed."   (December 20th 1969, NME)

Black Night

"The Deep Purple record is really good. It's about time groups like this had a look in the chart. Up to now it's been all Tamla and bubblegum that's made the chart."
(Ozzy Osbourne,
1970 UK music paper)

 Strange Kind Of Woman

"Deep Purple aren't the sort of band you use words like 'commercial' about, but this track is, surprisingly, exactly that. Written by the band it's a very interesting controlled track instrumentally with a very familiar repetitious melody line and a really good slow middle break. The guitar parts work in a very complementary way to the whole feel of the record and I wouldn't be a bit surprised to find Deep Purple at the top of the singles chart - which is a thought." (Sounds, 1971)

 Never Before

A powerful effort from the Purple ones, but it doesn't have the distinction needed for a hit single. Neat guitar from Ritchie and hip drums from lan keep it cooking behind lan Gillan's vocals." (1972, UK music paper)


" If some berk hadn't decided to play ship in distress and let off a flare gun during.a Mothers concert in the Casino, Montreux, what we'd have here would be a double album instead of a single in a double sleeve. But as it is we've got to make do with what we've got and what we've got is a lot. After the phenomenal run of success of "Deep Purple In Rock", the band didn't quite match it with "Fireball", so they obviously wanted to come out with another winner. They have. The Stones' mobile recording unit was lugged from the South of France to Montreux and the original plan was for Purple to record two albums in the Casino - one a straight studio set and the other a simulated concert. Old fire fingers put an end to all that.   Side One starts with "Highway Star", written by lan Gillan in a coach en route to a gig in Portsmouth last year. The number has a chuggin' rock and roll beat with no frills. There's an electric piano solo using chord progression and later a lead guitar solo followed the same pattern - it's probably one of the best solos Richie Blackmore's ever played.
   "Maybe I'm A Leo" is an undistinguished piece taken at a heavy, plodding pace and "Pictures Of Home" returns to rock and roll. Some twiddly bits of guitar playing and another Blackmore solo highlighting the number, which was written in Switzerland during the session. Gillan's voice shows few signs of its previous strain.
   "Never Before" winds up the first side with lan Paice's thumping drum beat disguising what is essentially a sad song. Purple have a habit of staggering things by building on or repeating chords and that technique is in evidence here.
   "Smoke On The Water" is the tale about the whole scene in Montreux, and the title refers to the actual fire that caused all the hassle. The heavy bass line gives an air of gloom in keeping with the illustrative lyrics. Listen to some pretty tasty drum work at the end.
   "Lazy" is THE track for me. It's a showcase for Blackmore's expertise and started off much shorter on the last British tour. In Montreux, however, he worked on it until it's become a lengthy demonstration of his power within the band. Don t be fooled by the title, which doesn't fit the tempo. Gillan's vocals are such that you feel he might explode at any moment, and if you wait until after his harmonica break you are almost literally rewarded.
   It all ends with "Space Truckin' ". The words make clever usage of the names of various planets and galaxies on a funky piece of music that has the usual feature of interplay between lead guitar and drums.
(1972, UK music paper)


"I was beginning to feel that Purple were getting too full of themselves, especially after "Made In Japan." Thankfully I was wrong and this album proves it, because it takes the group right back to those hard riff days, which made them one of the world's top bands. "Woman From Tokyo," the opening track, unleashes the album in a characteristically solid manner, although it does relent in pace to allow a fraction of straight piano to work through. "Mary Long" is another nifty rocker - garnished with some delightful lyrics. It could well be directed at a certain clean- up campaigner. "Super Trouper" is put across with slightly more freaky mannerisms, atlhough like the following track, "Smooth Dancer," both cuts are loaded with exciting riffs that drive the eardrums to distraction.
   Side two opens with some chunky guitar from Blackmore on "Rat Bat Blue." It moves along at a terrific rate and is one of the few tracks where Jon Lord gets a chance of being heard. He goes from tinkling piano to wildly driving organ - all in a thunderous conglomeration. In considerable contrast we get a taste of Purple blues on a placidly sounding "Place In Line," which has some pleasantly crisp guitar from Blackmore. The album closes with a slower more electronic "Our Lady". Gillan's voice sounds good as it does on the whole album, while Lord's organ purrs and growls in alternating patterns, until the track and album gradually fade away. What an experience."
(1973, UK music paper)