While the origins of
hard rock and heavy metal are varied and nuanced, there are three British bands
perched right at the confluence of all these various streams, and they loom
quite large. Led Zeppelin, scourge of Rolling
Stone has the most notoriety and direct influence on straight up rock,
while Black Sabbath firmly put their stamp on the underworld nightmares that
inform most of metal’s vocabulary. Deep Purple is the other giant, and their
influence is no less special. Because Purple is often treated by music
historians the way American Veteran’s Day parade organizers treat survivors of
the Korean War, I feel I should spend a little more time with this band than I
have the previous entries.
Deep Purple had been
around for a few years, recording since 1968. They underwent a massive overhaul
in sound and approach after guitarist Ritchie Blackmore heard what Jimmy Page
was doing with Led Zeppelin, and in 1970 spit out Deep Purple In Rock. Clocking in at 43:30, it was a sonic assault
years ahead of its time. Blackmore and keyboardist Jon Lord coaxed bizarre,
distorted cries out of their instruments before the rise of synthesizers, and Ian
Paice fires off drum beats faster than a belt-fed machine gun.
What Deep Purple brings
to the table here is a starting kit for nearly every heavy metal band from the
80s. It is Ian Gillan’s-not Robert
Plant’s-falsetto that launched a thousand air raid siren imitators, and Ritchie
Blackmore raised the bar for guitar performances in ways that are difficult to
express in a review this size. Jeff Beck was an innovator, but was lost in his
own instrumental experiments as opposed to writing album-oriented rock music.
Jimmy Page was a genius with rhythm and unorthodox tunings, and understood
recording like no one else. But he was also a sloppy lead player, rarely
bothering to work a solo out before he committed it to analogue. Tony Iommi was
equally genius when it came to crafting riffs, but was content to stay in the
pocket with his blues-lick solos for the remainder of the 70s. Brian May had a
tone unlike anything anyone had ever heard, but he was playing fairly orthodox
runs. Eric Clapton’s balls had fallen off. What was Ritchie doing? Inventing
shred. He was the first rock guitarist to introduce Aeolian minor to his lead
work, resulting in guitar solos full of classically rooted scale work and
taking rock music off the established blues reservation. His lead work was
faster, cleaner, more imaginative, and more full-throttle than anyone else on
the block. Blackmore’s gleeful, unrepentant abuse of the fretboard opened the
door for later guitarists like Uli John Roth, Michael Schenker, Randy Rhoads,
and Yngwie Malmsteen. That’s a thing
right there.
The main thing holding In Rock back is the production. The wet
cardboard box sound hampered Purple (specifically Blackmore’s tone) for years,
and they were never able to find that formula that let Zeppelin blow up
speakers. Despite this ever-apparent flaw, the tunes here are hewn of iron.
Purple isn’t explosive like Zeppelin or heavy like Sabbath, but they are hard. Jon Lord and Blackmore grant a fantastical
prog feel to the material, but there is also a raw, unrestrained savagery on
display, recalling early 60s garage rock. Speed
King opens the album up with a bang, featuring fluid, torrential scale work
by Blackmore and Lord while Gillan dredges up his best Little Richard
impression. Flight of the Rat shows
off how much faster Purple was than their contemporaries, ignoring the fun,
off-the-beat playing Page and Iommi employed in favor of sheer velocity. Hard Loving Man drives this point
further home, sounding like a blueprint for what Judas Priest (often credited
with introducing speed to metal) was doing nearly a decade later. There aren’t
too many haymakers on this album; Purple has instead elected to throw a staccato
series of hard, stiff jabs that sting long after they dissipate.
The big bopper and
aforemention sparse haymaker here is the grandiose and epic (The damn thing is
over ten minutes long and ends the first side of the original vinyl release) Child in Time. The spooky ethereal chiaroscuro
effects Page and Iommi played with are present, lending gravitas and pathos to
Lord’s keys while Gillan wails almost religiously. The tension continues to
build until the three and a half minute mark when Ritchie takes over to
demonstrate why he was the most badass gunslinger on his side of the Atlantic
in the early 70s. Seriously folks, this is one you have to hear.
Verdict: Deep Purple took a sharpened edge to the rock scene with this album, and it kicks ass in ways you can’t understand. They would go on to craft more well-known, better polished pieces before breaking up, but they never stormed the top of the mountain quite like this again. 5 out of 5 stars.
The album cover may seem a bit ridiculous, until you consider the inherent absurdity of the actual Mount Rushmore.