CALIFORNIA JAM APRIL 6th 1974

California Jam is a live album by British hard rock Deep Purple, recorded in 1974 and originally released in 1996, it was re-released as a remastered edition in 2003 with the bonus track "Lay Down, Stay down".

The album is a live recording of Deep Purple's infamous appearance at the California Jam Festival on April 6th 1974, which was televised by ABC-TV in prime time. At the end of the show,  guitarist Ritchie Blackmore first attacked one of the network's video cameras (which had been getting between him and the audience) with his guitar, and then had his amplifiers doused with gasoline and set on fire, which caused an explosion. The final five minutes of the performance can be seen here.

Releases

Deep Purple's performance at the California Jam has been available over the years in several different releases with various names, among them: "California Jamming", "Live at the Ontario Speedway '74", "Live at the California Jam" and finally "California Jam 1974" (not counting successive re-releases, mostly Japanese). While all of theses releases are culled from the same performance, most of them don't feature the full show, with edits and most importantly, missing a full song: "Lay Down, Stay Down."

While the successive re-releases have attempted to improve the sound quality (which was poor on the earliest ones), the show itself suffered from technical failures, making it impossible to fully correct them, a fact most notably evident during opening number "Burn", where the guitar is barely audible and then gradually gains volume.

these are the Deep Purple's video at California Jam, April 6th 1974

1. Burn

2. Might Just Take Your Life

3. Lay Down Stay Down

4. Mistreated

5. Smoke on the Water

6. You Fool No One

7. Ian Paice's Drum - The Mule

8. Space Truckin'

     part 1

          

     part 2

     part 3

Rapture of the Deep

To the casual listener, Deep Purple are simply that band that "wrote than one guitar riff." In fact, walk up to any random person and hum the opening riff toSmoke on the Water and they will instantly recognize it. Maybe half will actually know Deep Purple wrote it, and even fewer will actually have listened to the band.

But to true fans of Classic Rock, Metal, Hard Rock and everything in between Deep Purple stand as a pillar in the foundation of metal. Those who purchase any of their classic records will be treated to lightning fast guitar and organ duels, pounding drum and bass grooves, and overwrought screaming vocals. For over thirty years now, Deep Purple has seen the ups and downs of a rising, falling, and reunited classic lineup never failing to cater to their own brand of virtuoso, even Progressive tinged hard rock. But in 2005, listeners may not have the highest hopes as to whether the band can pull off a good album, especially with the departure of staple members Jon Lord and Ritchie Blackmore. But fear not, because the boys are back with a vengeance; playing like they were twenty.

In the early nineties, guitar god Ritchie Blackmore left the band to pursue his career in Blackmore's Night, a Renaissance themed acoustic band. To fill the void he left, the band called upon the services of Steve Morse, previously of Dixie Dregs fame. Over tens years later, Morse plays with the band like he'd been there since the start. Also, on the bands past two albums two albums, the familiar presence of Jon Lord was missing on the organ. To fill his shows, the band brought in seasoned session musician Don Airy who proves himself more than worthy of his job.

But it was never the individual performances of Blackmore and Lord that made them such great players, it was the way they fueled off each other, trading solos at every turn. Morse and Airy, thankfully, prove that they have just as much chemistry as their previous counterparts.

So hows the rest of the band? The three surviving members of the Mark II (or classic) lineup are all present and are all up to their usual standards. Ian Gillan, who is easily one of the biggest contesters for my favorite singer of all time, sounds incredible. He's a bit rough around the edges and can't quite hit the same high notes he once could, but he's lost none of his passion and zeal screaming like theres no tomorrow on many tracks. Ian Pace's familiar presence comes through, pounding out his classic drumbeats. Roger Glover, also, plays like always keeping the band grounded with his excellent basslines.

The albums opener Money Talks begins with an eiri intro reminiscent of Perfect Strangers before exploding into a patent riff with Gillan's crooning vocals. With a memorable chorus and nice guitar solo, its obvious that the band isn't messing around and even in their late fifties can still bust out better hard rock than almost anyone else.

The next track, Girls Like That is a bit of a cliche, despite featuring a memorable bassline, and typical soloing from Morse and Airy. But with lyrics that play out like a Hitchcock flick, Wrong Man rides a strong riff to create one of the albums most satisfying songs.

The title track, however is easily the albums highlight. With a middle eastern groove, wonderful singing with an incredibly catchy chorus from Gillian and Morse and Airy at their finest this is definitely the work of an inspired band.

Clearly Quite Absurd is an uncharacteristically soft Ballad, something Deep Purple were never known for making. But it soon proves to be another highlight, with emotional singing, and powerful, yet soothing piano and guitar lines. Don't Let Go brings the band back to their traditional sound with a catchy riff from Morse and Airy.

The same can be said for the next two tracks, Back to Back and Kiss Tommorow Goodbye which are both catchy rockers with traditional Gillan singing, and Paice drumming. Morse and Airy continue to show off at every turn (Back to Back features a very cool solo from Airy on the Moog.)

MTV is Gillan's clever attack at the bland offerings dished out by many Classic Rock radio Stations, with lyrics that manage to protest the overplaying of Smoke on the Water and the relative stupidity of disk jockeys who attempted to interview Gillan and Glover.

Junkyard Blues is another track to show off Morse and Airy's considerable talent, with great piano and guitar solos. Unfortunately, the albums closer, Before Time Began might be my least favorite song on the album with rather bland playing and singing, despite some cool crashendoing riffs and solos.

Overall, for anyone sitting on the fence as to buying this album, I'd say definitely cough up the cash and buy it. But for those who don't already prescribe to Deep Purples sound, this isn't for you. For the real fans, though, don't wait a minute the band is back like they've been playing their whole lives (which, incidentally, they have.)


Tracklist:

1. Money Talks
2. Girls Like That
3. Wrong Man
4. Rapture of the Deep
5. Clearly Quite Absurd
6. Don't Let Go
7. Back to Back
8. Kiss Tommorow Goodbye
9, MTV
10. Junkyard Blues
11. Before Time Began

Release Date: 2005

Bananas

Seemingly, the decade that has now almost ended did not have a great start for one of the longest-surviving rock veterans Deep Purple. In 2002, organist/keyboardist Jon Lord announced his amicable retirement, which left drummer Ian Pace as only founding member (which as of today, he still remains). Lord had, together with Ritchie Blackmore in past years, been more essential to Deep Purple’s sound than anyone else ever featured in its ever-changing line-up. Would Deep Purple, after Blackmore’s permanent leave, survive such a second harsh blow?

That answer came a year later, and it is yes: they actually could. As we jump a year forward, Lord has been replaced by fellow veteran keyboardist Don Airey, known for his numerous guest appearances on works of a great many different artists, ranging from classical composer Andrew Lloyd Webber to progressive actJethro Tull to heavy metal legends Judas Priest. Deep Purple also release their 17th studio album in this year, entitled Bananas. To everyone’s surprise, it is a record of actual quality. As for the new formation, already Mark VIII, it still lasts today.

Deep Purple Mk. VIII is:

- Ian Gillan ~ Lead Vocals, Backing Vocals
- Steven J. Morse ~ Lead Guitar
- Roger David Glover ~ Bass Guitar
- Donald Airey ~ Keyboards
- Ian Anderson Pace ~ Drums, Percussion

Guests:

- Paul Buckmaster ~ String Arrangement and Cello on Haunted
- Beth Hart ~ Backing Vocals on Haunted
- Michael Bradford ~ Guitar on Walk On

Bananas may feature an ensemble of 5 men in their 50’s, but despite age, Deep Purple hadn’t sounded so fresh in years. In fact, it is almost hard to miss Lord at all, as Airey’s catchy and slightly more playful and upbeat keys add much flavour to the record. As for the rest of the band, as much as they sounded so sullen and dreary on far too much of Abandon, so much sound they excited and willing on Bananas. Especially Gillan, who clearly never gets enough of his job, sounds exceedingly vital.

The good thing about the material is that the band that produced it doesn’t take itself too seriously. Deep Purple knew what they could and couldn’t do by after 3 decades in the business, and instead of producing neither clichéd House of the Blue Light-hard rock nor trying to be experimental which resulted in the one-off success Purpendicular, the boys make something that is playful, doesn’t come across as wanting to be ‘their best record in years’, a thing a great too many veteran bands tend to claim when releasing new work. As heard in the fitting openerHouse of Pain, which indeed sets the tone for the album more than any other track could have, Gillan even smartly makes a parody of himself. His opening scream conveys but one message: ‘I can’t really do those anymore, but I tell ya, I’m having fun!’. Needless to say, the listener will have just as much fun. The same goes for the first lyrics: ‘Have you ever had a woman that could make you crazy?/Have you ever had a woman that could drive you mad?’. This time, Gillan wrote them cliché-ridden on purpose, and it is this whole approach that works wonders for the appeal of Bananas.

Morse, who as it seems now finally has found a comfortable position in Purple, provides tremendous backbones for the tracks. His riffs are catchy yet technical when they need to, he is a great talent with the solos, and his playing is fresh because of his jazz fusion roots. Without him, it is doubtful Deep Purple would have ever sounded so well-presented as they do on this album. On top of that, he closes off Bananaswith style, with the one-and-a-half-minute Contact Lost, a slow, moody instrumental he wrote about the crash of the Columbia astronauts.

Other highlights include the slow-burning Walk On, featuring effective extra guitar from Michael Bradford, who produced the album, andHaunted. The latter has a complete string arrangement, and the addition of a cello, which both add much to the ballad. It also marks the first time in the band’s history anyone but Gillan handles backing vocals. Still, Deep Purple prove they can show new things without going out of their league.

A pleasant surprise, so late added to their discography, that is what Bananas is exactly. It’s fresh but not too daring, it doesn’t take itself too seriously, but it never gets too out of hand. Airey proves an excellent addition, Morse continues to amaze, and the 70’s veterans are all still having good fun. This album is as good a balance a band Deep Purple’s age can create, and it created something that truly can be called great. Deep Purple clearly still know how things work.



Tracklist:

1. House of Pain
2. Sun Goes Down
3. Haunted
4. Razzle Dazzle
5. Silver Tongue
6. Walk On
7. Picture of Innocence
8. I Got Your Number
9. Never A Word
10. Bananas
11. Doing It Tonight
12. Contact Lost


Release Date: 2003

Abandon

In 1994, Deep Purple had been fortified with guitarist Steve Morse’s broad platter of skills, and two years after the new formation was complete, Mark VII put out the daringly experimental (at least for the band’s standards) Purpendicular, which came to a surprisingly good end as far as quality is concerned. Following their demise in the 80’s and Blackmore’s final leave however, the foundations of Purple’s fan base had been shaken. Luckily for the more hardcore of followers, the band still proudly stood up, trying to provide quality releases. Their next attempt at this wasAbandon, released in 1998. It was also to be the last release to be recorded with organist Jon Lord, who had been there since the band’s very humble beginnings, and had helped to shape a immense part of Purple’s sound. Choosing to focus on composing, he took the tough decision of departing and left drummer Ian Pace as only founding member. His eventual replacement would be Don Airey, who is still with the band as of today. 

Deep Purple Mk. VII was:

- Ian Gillan ~ Lead Vocals, Backing Vocals
- Steven J. Morse ~ Lead Guitar
- Roger David Glover ~ Bass Guitar
- Jon Douglas Lord ~ Keyboards, Organ
- Ian Anderson Pace ~ Drums

Abandon has two sides to it. One of those sides shows the Deep Purple ofPurpendicular; the refreshing sounding, revitalized band. The other and most dominant side, however, is less of a treat, and is rather new Deep Purple trying to be old Deep Purple again, with results that are mostly recycled and poorly executed.

Still, the boys recreate some of their original energy on a few occasions. The most notable of these are the catchy old-school rockers Almost Human and ’69, of which the former especially satisfies because of Morse’s excellent abilities. It is in too many tracks though, that there is so much lack of a powerful deliverance the album’s listener will quickly grow bored. The first half’s letdowns still have some interesting features, such as the loud-soft dynamics and guitar solo on Don’t Make Me Happy, the classic guitar-organ interplay of Mark II on Seventh Heaven and the dreamy sequences on Watching The Sky, but make for no more than decent tracks.

It is most of the second half then, where things truly go wrong. Jack Ruby and She Was are both a rather laughable event at the band recalling the funk energy of Burn, and by the time we’ve gotten to Evil Louie, which borders on decent, our listening attention has vanished into oblivion, which is too bad considering there is some rather good material to be found on Abandon. The track that feels most out of place is the closer Bludsucker, a re-recording of the excellent In Rock track Bloodsucker, recorded almost 30 years (!) earlier. The instrumentation doesn’t sound all that different despite that Morse now plays instead of Blackmore, and the vocals have logically only gotten worse. The purpose it serves remains completely unclear.

The moment where Abandon comes closest to touching the feel of Purpendicular is the ballad Fingers to the Bone, which is led by the most original guitar work on the entire album, a folkish tone that works tremendously well with the track. Once again, Morse shows his diversity. The only other track borrowing from the band’s previous album is opener Any Fule Kno That, which tries to be as good as Ted the Mechanic was. It gets on the repetitive side, but it’s still catchy.

Unfortunately, the feeling that ultimately dominates Abandon is a disappointing one. Unable to recapture the fresh approach of Purpendicular, it sees Deep Purple sinking into what may have been the inevitable. Most tracks are decent, that cannot be denied, but it is a lack of songs that go above that level that puts this effort down a notch. Sadly enough, Abandon is a rather average release.



Tracklist:

1. Any Fule Kno That
2. Almost Human
3. Don't Make Me Happy
4. Seventh Heaven
5. Watching the Sky
6. Fingers to the Bone
7. Jack Ruby
8. She Was
9. Whatsername
10. 69
11. Evil Louie
12. Bludsucker

Release Date: 1998

Purpendicular

After the rock abomination that was The Battle Rages On and Ritchie Blackmore’s permanent departure from Deep Purple, everyone though it really was going to be the ultimate end for Deep Purple. After all, Blackmore had always been creative leader (or at least since the band’s breakthrough In Rock), as well as the most talented member. Replacing him with someone as worthy was trying to achieve the impossible.

Luckily, this is not what Deep Purple tried to do. It is true they tried players of a similar technical level, but never were they wannabe Blackmores, rooted in the traditional blues-based approach as much as he was. The boys first ended up with Joe Satriani, forming Mark VI, but failed to actually release anything in their less-than-a-year existence. In 1994, they found Steve Morse, known from his work with Dixie Dregs, which he co-founded, and his stint in Kansas. Morse was nothing like Blackmore, being rooted in jazz fusion, and perhaps that is exactly what Deep Purple needed: a fresh approach, after all those post-Perfect Strangers generic hard rock albums. The newly formed and once again confident Mark VII released their first album (and the band’s fifteenth already) in 1996.

Deep Purple Mk. VII was:

- Ian Gillan ~ Vocals, Harmonica
- Steven J. Morse ~ Lead Guitar
- Roger David Glover ~ Bass Guitar
- Jon Douglas Lord ~ Keyboards, Organ
- Ian Anderson Pace ~ Drums

Purpendicular came as a tremendous surprise, especially to fans of the band’s traditional work, as it was, for the first time in Purple’s career, a truly experimental record. Undoubtedly, this is a direct result of Morse’s arrival, whose work spans a wide variety of genres, styles and moods. And though Purpendicular(unsurprisingly) doesn’t come close to Mark II heyday, the album (and Morse) is exactly what the band needed. You’ve got to respect them for it: oldies from the 70’s still daring to try something new. It’s something that can be said of very, very few bands from Deep Purple’s time.

The material on Purpendicular is also softer than that on most Purple albums before it, and includes many ballads. Some of these, like A Touch Away and Loosen My Strings, add nothing in particular to the band’s oeuvre but still remain effective, especially the latter, which has heartfelt vocals and beautiful guitar work, filled with an emotional value that Blackmore would never have been able to create in a similar way. Others, however, prove to be quite inventive. The best example by far is Sometimes I Feel Like Screaming, a true epic, highlighted by a stunning, emotional solo at the end, which leaves no doubt about whether Morse is an adequate addition to the crew. Gillan, after all these years, still claims his rightful place as one of the greatest rock vocalists of all time, as he makes the most out of his logically deteriorated but still incredibly appealing voice.

The most experimental tracks are not always the best, but actually often turn out great. Soon Forgotten is an interesting oddity, driven by an almost eerie, disturbing instrumental section and talk-sing vocals. Rosa’s Cantina employs similar vocal work, and seems mostly Gillan’s baby, who also drives it with his harmonica, an instrument he hadn’t used in a long time. Morse shows his diversity on The Aviator, which has an medieval-esque arrangement. Closer The Purpendicular Waltz most thoroughly incorporates jazz influences, and A Castle Full of Rascals has a spacey feel that works out pretty great. 

In the meantime, Deep Purple hasn’t forget where they are coming from. The real rockers on Purpendicular are the excellent opener Ted the Mechanic, with a slowly bumping rhythm section and standout jazzy guitar work by Morse, the relatively simple Cascades: I’m Not Your Loverwhich gives us some trademark Jon Lord organ chops, the bass-driven Hey Cisco and the catchy Somebody Stole My Guitar, arguably the best of the lot.

It was surely a relief to see so much creativity on a Deep Purple album. After descending themselves into hard rock-genericness in the 80’s and early 90’s, the band luckily got revived by a creative guitarist who could not have been a better replacement for the by-then tired out Blackmore. Purpendicular is by far Purple’s most experimental record, and it must be said: these aged rockers pulled it off as well as they possibly could have. Props for that.


Tracklist:

1.Vavoom:Ted the Mechanic
2.Loosen My Strings
3.Soon Forgotten
4.Sometimes I Feel Like Screaming
5.Cascades:I'm Not Your Lover
6.The Aviator
7.Rosa's Cantina
8.A Castle Full of Rascals
9.A Touch Away
10.Hey Cisco
11.Somebody Stole My Guitar
12.The Purpendicular Waltz

Release Date: 1996

The Battle Rages On

Now, the above phrase could mean a great many things. It was used by vocalist Joe Lynn Turner (ex-Rainbow), who enjoyed a brief stint in Deep Purple after Ian Gillan ducked out of the band once more following The House of Blue Light, and recorded the minimal success Slaves and Masters with them in 1990. Though many would interpret his quote as that Deep Purple were going on without any innovation, or at least putting out quality material, Turner meant that he had co-written tons of strong material until Gillan reworked many of it when he returned. Because yes, Ian Gillan went on to front the band he fronted best for another time, making for a 2nd reunion of the Mark II line-up. The new album was entitledThe Battle Rages On, and was already number 14 on the studio album counter. Ironic, for the Battle didn’t actually Rage On much longer for Mark II, because Ritchie Blackmore would leave after this, for the final time. Despite Gillan’s return, the Battle’s sales were even worse than Slaves and Masters’ (they had been deteriorating ever since Perfect Strangers, with good reason).

Deep Purple Mk. II was:
- Ian Gillan ~ Vocals
- Richard Hugh Blackmore ~ Lead Guitar
- Roger David Glover ~ Bass Guitar, 
- Jon Douglas Lord ~ Keyboards, Organ
- Ian Anderson Pace ~ Drums

Whether our good friend Turner was right or not, it all doesn’t seem to matter. LikeSlaves and Masters, the material on TBRO is almost all sub-par. Gillan’s return doesn’t seem to have helped particularly either, though his superiority as a vocalist to Turner is remarkable, and then I’m not even considering their age difference. The vocals, although well-performed as we have become used to, are buried to deep in the mix, sometimes even sounding like background vocals. A plus is that Gillan finally seems to have found his ‘older’ singing voice, as the first reunion period had him going through as sort of transition (or refusal to accept his vocal deterioration, pick your choice), making him sound slightly nasal at times. 

What is the biggest problem are our two virtuosos here, Blackmore and Lord. Both seem to have forgotten the fact they are extremely talented at playing solos, and also even the guitar riffs and keyboard/organ melodies hugely disappoint. The rhythm section fails to do anything special just as well. No more cool bass lines from Glover (or they are buried in the mix too), and Pace’s drumming skills seem to have completely abandoned him, not playing any interesting fills or beats whatsoever. What I hear on The Battle Rages On is a tired band that have no more musical chemistry together and simply don’t give a damn about the quality of their work. At least that’s what it looks like.

We move through a mess of tracks that are an amalgam of sex, violence and rock ‘n roll clichés, and almost all fall flat on their face. Except for the fact that Gillan has a very recognizable voice, you couldn’t really say what band is playing this music, and that is exactly one of the worst things that can happen to such a remarkable bunch of musicians: loss of identity. Next to the 8 very, very average rock songs, there are two forgivable tracks in the middle part. Forgivable, not fantastic. The two tracks, Ramshackle Man and A Twist in the Tale, have an appeal that all Purple songs used to have: great guitar and keyboard work. Especially the first contains some good ol’ bluesy riffs by Blackmore, and even a solo (blasphemously non-present throughout TBRO). Just too bad one of the greatest guitarists of the 70’s ends the work in his main group with a sploosh. 

Deep Purple would never find a true replacement for the great Blackmore, of course, and Mark VI with Joe Satriani didn’t even record anything, but in the end, another (non-wanky) virtuoso came around the bend, with roots in jazz fusion, and his name was Steve Morse. He blew a fresh air of creativity into the band with his multi-genre spanning skills, but that doesn’t change the fact that what was Mark II’s last album, I am afraid to say, pretty much sucks.


Tracklist:

1. The Battle Rages On...
2. Lick It Up
3. Anya
4. Talk About Love
5. Time to Kill
6. Ramshackle Man
7. A Twist in the Tale
8. Nasty Piece of Work
9. Solitaire
10. One Man's Meat