Deep purple rapidshare discography

This was the peak of the band's career, coming off the major sales and exposure received worldwide from their masterpiece "Machine Head" and then to follow up with an excellent tour playing music they were always meant to play.

Without the time limits of the usual album formats and label pressure to keep things abbreviated, the band was able to show what they were best at, the reason why they were such a great band in the first place by expanding their songs and displaying their talents better than they had ever been able to. DP had gotten better and better as they released each album and their growth is quite evident in the first several albums of their discography, even with line- up changes.

The band was slowly adjusted until it reached the pinnacle of this time in their career. Unfortunately, after this album and the pressure of touring and recording, fissures started appearing in the band line-up. They were starting to feel like a group of individuals and less like an entire group working together. At least this amazing live recording is there to show us a snapshot of the band at it's best.

It might not be up high in progressive rock elements, but it does touch on them, especially in the suite of styles and improvisation that make up the last track, but it is an essential live recording that should work as a standard as to what live recordings should sound and be like. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever.

The following two efforts were definitely more progressive in tone, especially their third, self-titled album, which saw Lord's masterful, classically-influenced use of the B3 Hammond organ steal the limelight.

Their sound featured lengthy, dazzling duels between Lord's Hammond and Blackmore's Stratocaster, punctuated by Gillan's sky-high screams - nowhere better embodied than in their stunning, live album, "Made in Japan". In the same year, they released "Machine Head", one of the essential rock albums of all time, which featured the seminal riff of "Smoke on the Water" inspired by a true episode happened during the recording of the album itself in Montreux, Switzerland , as well as other classics such as "Highway Star" and "Space Truckin'".

Unfortunately, ego clash Unfortunately, ego clashes and differences in musical direction caused the departure of both Gillan and Glover, who were replaced by an already established musician also possessed of awesome pipes , former TRAPEZE bassist and vocalist Glenn Hughes, and an unknown singer from North Yorkshire, David Coverdale, whose deep, bluesy voice was distinctly different from Gillan's high-pitched wail. The first Mark III album, "Burn", released in , ranks amongst the band's best efforts, with the furious, barnstorming title-track quickly becoming another mainstay of their live performances.

However, Hughes's leanings towards funk and soul clashed with Blackmore's own musical orientation, which led to the latter's split from the band immediately after the release of "Stormbringer".

Unfortunately, Bolin was a drug addict, while Hughes had also begun his descent into alcoholism and cocaine addiction. The band's only Mark IV album, 's "Come Taste the Band", is a highly underrated masterpiece of funk-tinged hard rock. It also signalled the dissolution of the band, after Bolin's tragic death of a heroin overdose in The result was 's excellent "Perfect Strangers", a true return to form whose magnificent, Eastern-tinged title track has since become one of the band's undisputed classics.

However, the idyll was not fated to last: 's "The House of Blue Light" was a much weaker effort, and the tensions between Blackmore and Gillan resurfaced, causing the latter to leave the band. In , Gillan rejoined the band in order to record the aptly-titled "The Battle Rages On"; however, during the tour in support of the album his conflict with Blackmore got out of hand, and the guitarist left - this time, never to return.

A legend in his own right, Morse brought fresh ideas to the band, as well as a much more relaxed approach to personal relationships. The new line-up managed to record two albums, "Purpendicular" and "Abandon" , before, in , founding member Jon Lord left the band in order to rest from constant touring and dedicate himself to his own musical projects. This new version of the band is still active and touring in the 21st century.

Their latest album, "Rapture of the Deep" , is certainly one of their best efforts since they got back together in Raffaella Berry Raff - February Why this artist must be listed in www. They have also been quite influential on many 'heavy prog', Hammond-driven bands. Studio Album, 3. Now What?! So, with a fast assessment here on progarchives anyone can find this album being only surpassed by the masterpieces In Rock and Machine Head. Next step than was to give it a try and the results were?

Deep Purple Proto-Prog Review by sgtpepper. To me, 'cover album' is almost synonymic to 'rubbish'. But this one is just slightly below top and far beyond expectations. Of course this release has no direct relation to prog, but it shouldn't at all. I consider this a sort of farewell bow to the era when those five old guys started to make music, and to the songs they educated on.

And the band did this work on highest possible level. The songs themselves are mostly rock'n'rollish, lightminded and unpretentious not surprisingly, as there was no prog in the s yet. But Deep Purple's interpretations are quite proggy. The original versions of those old songs were composed, arranged and especially performed on the border of as we say in Russia samodeyatelnost amateur performance.

But Deep Purple played and sang them as professionally as only Deep Purple are capable. Airey played virtuoso piano solos, Morse played virtuoso guitar passages, Paice played drums as if he was still 25 years old, Glover was up to the mark as usual The result is a really noble album based on the material which initially was far from nobility.

Not really progressive? OK I agree. But in this case - no matter. Indeed for this album the group made the choice to carry out covers. The choice is respectable but the result is that for the most part these are classic rock'n roll or boogie covers. I don't see anything progressive in this production, except maybe in "7 And 7 Is" and "White Room".

The rest is nice and well done but unfortunately will not satisfy Deep Purple aficionados of the s or lovers of inventive and creative music. In the end, the title of the album is very well chosen. Live, 4. Thanks to Raff for the artist addition. Donate monthly and keep PA fast-loading and ad-free forever. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love.

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