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Deep Purple's self-titled third album, often called "Deep Purple III," is a snapshot of a band in transition. Released in 1969 amidst a turbulent cultural landscape, the album showcases a blend of styles, from psychedelic rock to heavier blues influences. While it received mixed reviews and didn't achieve commercial success, it's notable for its entirely original material and the growing prominence of guitarist Ritchie Blackmore's songwriting. It also features fan-favorites like the atmospheric "Chasing Shadows" and the sprawling instrumental "April," hinting at the heavier direction Deep Purple would ultimately embrace.
The year is 1969. The Summer of Love has withered, replaced by a cynical hangover. Nixon's in the White House, the Manson Family's on a killing spree, and the Vietnam War rages on. Rock music is in a state of flux, with psychedelia fading and heavier sounds emerging. Into this chaotic landscape strides Deep Purple, a band struggling to find their footing with their self-titled third album, ominously dubbed "Deep Purple III" by fans.
This is the sound of a band on the brink. The original Mk. I lineup – Rod Evans' affected vocals, Ritchie Blackmore's neoclassical guitar heroics, Jon Lord's swirling organ, Nick Simper's plodding bass, and Ian Paice's thunderous drums – is about to implode. And it shows.
"Deep Purple III" is a sonic mishmash, a hodgepodge of styles that never quite gels. It veers from the faux-Baroque opener "Chasing Shadows" to the bluesy stomp of "Blind" to the psychedelic meanderings of "Lalena." There are moments of brilliance – Blackmore's furious fretwork on "The Painter," Lord's haunting organ on "Fault Line" – but they're fleeting.
The album was recorded at De Lane Lea Studios in London, with producer Derek Lawrence at the helm. Lawrence, known for his work with the Moody Blues, tries to impose a pop sensibility on the band, but it doesn't quite fit. The production is muddy, the mix uneven, and the songs feel disjointed. The album also marks a turning point in the band's songwriting approach, moving away from covers and towards entirely original material.
Historically, "Deep Purple III" is significant for a few reasons. It marks the end of the band's early, more experimental phase and the beginning of their transition to the heavier sound they would become known for. It's also a testament to the growing influence of Blackmore as a songwriter, with his compositions becoming more prominent.
The album is noteworthy for several fan-favorite tracks. "Chasing Shadows" stands out for its dark atmosphere and unique structure, "Blind" features a raw blues-rock energy, and "Lalena," a Donovan cover, is often praised for its psychedelic charm. The instrumental "April" is a sprawling, multi-part epic showcasing the band's musical diversity and ambition.
But in the moment, "Deep Purple III" was a critical and commercial disappointment. It failed to chart in the UK and received lukewarm reviews. Critics slammed Evans' vocals, the band's lack of focus, and the album's overall unevenness. The subsequent departure of Evans and Simper, replaced by Ian Gillan and Roger Glover, signaled a radical shift in the band's trajectory.
The controversy surrounding the album only added to its troubled legacy. The cover art, featuring a bizarre collage of band members' faces, was deemed "ugly" and "off-putting." And the decision to omit the band's name from the front cover further alienated fans.
Listening to "Deep Purple III" now, it's easy to hear why it failed to connect. It's a transitional album, a bridge between the band's psychedelic past and their hard rock future. It's a record that's neither fish nor fowl, caught in a stylistic no man's land.
But for all its flaws, "Deep Purple III" is a fascinating artifact. It's a snapshot of a band in turmoil, struggling to find their voice amidst a rapidly changing musical landscape. It's a testament to their resilience that they were able to overcome these early setbacks and go on to achieve global success.
So, is "Deep Purple III" a lost classic or a forgotten footnote? It's hard to say. But it's worth revisiting, if only to appreciate how far the band had come by the time they released their groundbreaking fourth album, "Deep Purple in Rock." That's when they finally found their true calling, leaving behind the psychedelic haze and embracing the heavy metal thunder that would define their legacy.
How does the album back cover be different from other versions
Record label information:
The album: "DEEP PURPLE - Deep Purple III (self-titled) 12" Vinyl LP Album" was produced by: Derek Lawrence for Edwards Coletta
Sound/Recording Engineer(s): Barry Ainsworth
Album cover design: Hieronymus Bosch
Album cover photography: David Anthony
British Hard Rock, Classic Rock, Early Metal
Harvest – 5C 038-90505
Record Format: 12" Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
1976 Manufactured in the Netherlands
Uncover the enigmatic story of Rod Evans , Deep Purple's original frontman. From chart-topping hits to a controversial reunion attempt, explore the highs and lows of his musical journey and his mysterious retreat from the spotlight.
Shred through rock history with Ritchie Blackmore! From Deep Purple's legendary riffs to Rainbow's anthems and Blackmore's Night's medieval melodies, his guitar redefined genres. Read all about him
Journey through the electrifying fusion of rock and classical music with Jon Lord, the iconic keyboardist of Deep Purple! Witness his evolution from "Smoke on the Water" to symphonic masterpieces. Learn about his career
Uncover the story of Nick Simper, Deep Purple's founding bassist. From shaping their early sound to forging his own path with Warhorse, explore the highs and lows of his musical journey and his enduring impact on rock music.
Feel the thunderous beat of rock history! From Deep Purple's iconic riffs to collaborations with legends, Ian Paice's drumming mastery shaped generations and fueled anthems. Read his mini-biography
An original rhythmic idea of Ian's, who is heard playing drums, timbales, maracas and cowbell. Jon is playing claves. These percussion instruments were tracked on afterwards of course. The song is about one of Jon's nightmares. Nicky's bass line is a gas.
Jon plays harpsichord on this track, which is a love song, sort of squeezed into the format of a twelve bar blues. The middle section is a descending chromatic sequence, which is intended to give a sort of "slowing down" effect.
Donovan's song done how we thought Donovan might like to have heard it. The only double tracking on this cut is the guitar passage at the end. The slightly "jazzy" feel to the organ is a bow in the direction of Donovan's Mellow Yellow days.
Recorded when we heard that we were going to be in L.A. at earthquake time, The drum track was recorded first (with organ) and then reversed.
This track was recorded live; no double tracking.
Vaguely inspired by an Otis Spann number, and again it's an attempt to widen the scope of a plain 12 bar sequence; in fact the verses are 14 bars long and the guitar solo verses are 17 bars long. Interesting words from Rod.
A different recording from the version released on a single. Ritchie tracked the Wah-Wah guitar on afterwards and also the guitar at the end of the middle section.
A sort of 3-part concert about the month of April. The first section is played by just Jon and Ritchie. Jon played piano and organ, and Ritchie played acoustic guitar (a rhythm pattern and a double tracked lead pattern) and electric guitar. The choir was added afterwards. The whole section used about 11 diffecent tracks. Also Ian on timpani can be heard in the background. The second section is Jon's orchestral description of April. The instruments used were: two flutes, two oboes, cor anglais, two clarinets, two violins, viola and two cellos. The third section is a treatment of the chord sequence of the first section in a more "Purple" way. As a whole we hope April hangs together as a personal evocation of a beautiful, but sad (to us) month.
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