DEEP PURPLE - Rapture Of The Deep

The riff of "Smoke On The Water" alone would be enough to keep Deep Purple in our memories until rock's apocalypse arrives. Yet plenty of granite-hewn chords have gone by since that far-off year of 1968. Shredded vocal cords and irresistible chord progressions have stood the test of time. John Lord on keyboards, Ritchie Blackmore on guitar and Nick Simper on bass form Deep Purple together with drummer Ian Paice and singer Rod Evans in 1968. Thus is born the band's first line-up, known as Mark I.

After a couple of unsuccessful albums, the first frictions start to appear within the band, chiefly over Blackmore and Lord's firm intention to compete on hard rock turf with Led Zeppelin. Two former members of Episode Six, Ian Gillan (vocals) and Roger Glover (bass), are drafted in to replace Simper and Evans. Mark II will soon become one of the most astonishing line-ups in rock history.

With the help of young producer Martin Birch, the English band release their first, undisputed masterpiece in 1970: the granite-hard, lightning-fast "In Rock". It's only in 1972, however, that Deep Purple definitively enter legend. "Machine Head" contains what is still, to this day, one of the most famous songs of all time: "Smoke On The Water". Now, three decades on from the formidable concerts "made in Japan", Deep Purple are still alive and kicking, ready to put themselves back on the line album after album, tour after tour. And it hasn't been easy for a band that has lived more lives than a cat. By 1973 Mark II already no longer exists, after Glover and Gillan are sacked by an increasingly egocentric Blackmore. Shortly after, a shop assistant with a powerful blues voice, David Coverdale, becomes the new frontman of these hard rock heroes.

Towards the end of the '70s, however, the band is on the verge of collapse and they mutually agree to split. Then, in 1984, a flash of lightning: the legendary Mark II gets back on track and Deep Purple find new life. Beyond these stories, which now seem to belong more to a soap opera than to 40 years in the life of a band, what remains, of course, is the music. Following Lord's departure, Gillan and co. release "Bananas" in 2003. The joke that Purple have "gone bananas" circulates widely across magazines and websites, but it's no mere gossip: the album is a resounding artistic flop. In truth, it seems the band are simply looking for an excuse to go back on tour. So this new work, "Rapture Of The Deep", needs to be approached with caution - like an unfaithful ex-girlfriend trying to get back in touch to rebuild a trust that's already broken. And it's essential, first of all, to start from one premise: Deep Purple are no longer what they once were and, however hard they strive for creativity and courage, they will struggle to produce masterpieces on a par with those of the '70s.

Beyond the decent commercial success of bands like Aerosmith, it's hard rock itself, in its most classic form, that struggles to find a place in today's musical landscape. It's only logical that historic bands like Deep Purple should end up falling back, consciously or not, on the clichés of a bygone era. And yet, despite such a wealth of doubts and a sharply critical eye, "Rapture Of The Deep" manages to reward more than one listen and, ultimately, surprises with its freshness and creative drive. It's true that the catchy, upbeat "Girls Like That" brings back that kind of '80s-style refrain that "Bananas" was full of, but this record has an extra gear that's worth seeking out and appreciating, albeit within the limits of the album itself.

The intro of "Money Talks", in fact, seems to take us back in time, along with the Hammond flourishes scattered here and there courtesy of talented Don Airey, who, surprisingly, doesn't make us miss the late John Lord. "Wrong Man" is a typically Purple-esque track, with riff and organ trading blows with power and dexterity, backed by a particularly inspired Gillan, who goes back to reaching for those high notes. It's strange, too, how Blackmore's spirit still hovers over this band. The title track strongly recalls the Eastern-tinged scales the guitarist used in Rainbow, creating a decidedly compelling progressive sound.

Purple know how to slow things down, and "Clearly Quite Absurd" is an atypical ballad worthy of a rawer Eric Clapton. Then the measured blues of "Don't Let Go" and the synthesizer of "Back To Back" slightly break the album's tension. Ian Paice reminds everyone he's a great drummer, and his tribal, Bo Diddley-esque beat opens "Kiss Tomorrow Goodbye", which strongly recalls the production of the "Fireball" era. After the modest rock of "Junkyard Blues", it falls to Gillan to close out the album. "Before Time Began" is a kind of building suite featuring a highly charged, passionate performance from the singer, who for a moment almost manages to stop time long past.

In short, "Rapture Of The Deep" is by no means a masterpiece, but given these musicians' age, it's a youthful record that could still teach a thing or two to many of today's "adopted children".

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14/06/2020