I have fond memories of the hit, but have never heard the album.Originally Posted by pb2015
I have fond memories of the hit, but have never heard the album.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
Who Do We Think We is also painfully short.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
I like WDWTWA but it feels unfinished and lacks intensity. Side 2 starts pretty well with Rat Bat Blue, and then not much happens. The songs fail to reach any kind of climax.
Last edited by Interstellar; 01-24-2021 at 04:16 AM.
What's that dirgey blues thing on there called, 'Place In Line'? (You can tell how much I play it!) That's dreadful.
Just, do it. Get the MIJ box set. Not only is it the full three shows, mostly, of MIJ but they got it right with Ritchie on the right and Jon on the left which the original got "wrong".
About that, I was talking to my old guitar player who has a recording studio and he disagrees with me on that. I think the drums, toms and such, should go in the way you would hear them in a live setting and also with the seating of Jon and Ritchie in the mix. With Little Ian he's a lefty so the drums would go differently but, well, it's all sorta confusing.
In Rock is it for me, just so I'd answered the question. DP at it's best. The songwriting on Machinehead is more polished but the fire of In Rock still gets me to this day.
Carry On My Blood-Ejaculating Son - JKL2000
I've never understood the criticism of WDWTWW. It doesn't sound "tired" to me. Really, the only song I'm not high on is Woman from Tokyo but it's still pretty good. Just not a fan of honky tonk piano. "Rat Bat Blue" has such a cool, simple, funky riff. That tune alone is worth the price of admission, IMO.
I think it's a great record. My favorites are Mary Long and Our Lady. How can you not dig a record where one of the songs basically flips the bird at Mary Whitehouse?!
In Rock just sounds so hot. The band was hungry, on fire and still playing for their lives. The recording sounds very much like they did on stage.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
Who Do We Think We Are is my #2 favorite Purple album. Of the studio records, I rank 'em Burn, WDWTWA/Machine Head, In Rock, Fireball, Perfect Strangers, Purpendicular, etc......
I love the tune Mary Long on WDWTWA.
What do we think we are is a great album. Not sure why it doesn’t get the acknowledgment it deserves.
^^ Well, it is short. Also, there's not a lot of Ritchie soloing on it. That said, the songs are good and Ian Gillan sounds great. I think I rate it so high since it was the first DP record I ever bought and was fascinated by them. They seemed to be a step up in musicianship from the other heavy bands of the day.
Thank God for being only 35 minutes long... Only Gillan saves it.
In Rock - but the recording sound is a bit dull. (Compare it to Led Zep II !)
Machine Head doesn't have many tracks I like.
My favorite track on In Rock
On the recompilation Powerhouse, the opening track is Painted Horse, which was supposed to be on WDWTWA. It didn't make it due to raging conflict between Gillan and Blackmood.
And Gillan left not long after, due to said conflict.
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
That's a good album. I have the original vinyl and always loved the live tracks from the Concerto encore.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
Amazed that I've never heard this one before.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
You're not around here much, are you? It's a staple of every DP/Blackmore thread.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
It's because Ritchie was already ready to leave and didn't care, which is why you can barely hear him do anything on the album. He'd clocked out, as it were.
No Ritchie, no DP. Which turned out to be true until he melted down on Hell Or High Water. I do think the Satriani version of DP would have been better than the Steve Morse era but Purpendicular could never have happened with Joe. He's not Steve, and Steve's not Joe.
Different approaches to where they could to go and while I won't complain about the SM music, I do wonder what would have happened with Joe.
Carry On My Blood-Ejaculating Son - JKL2000
"Living Wreck" is my fave as well, especially considering the awesome groove and drumming - although Paice was usually awesome. I also quite like "Flight of the Rat". The "Child In Time" ripoff from It's a Beautiful Day's "Bombay Calling" remains an embarrassment.
I suppose the reason why I prefer Fireball is that it has mostly lesser-known tracks on it, and in retrospect I tend to find them more interesting. "No One Came" is one of the greatest tracks they ever recorded, and "The Mule" comes out as a success of acid bliss; rather uncommon for them. From Machine Head I actually enjoy "Maybe I'm a Leo" the most, and I'll live happily without ever having to hear "Smoke" again.
Some of DP Mk. 2's finest tunes IMO were leftovers like "Cry Free" and "Painted Horse", both on Powerhouse. But even at my most fanatic stage I could never think highly of WDWTWA, with the possible exception of the closer "Our Lady", which has a brood of fatigue and a sadness of finale about it that I kinda like.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Yup, In Rock is definitely incendiary to the eardrums, but clearly the European version with the absolute mayhem opening (intro of Speed King) missing on the North Am release. Considering Black Night should've been included, it's a stellar album.
a distant but solid second place for Machine Head, a bit plagued by the odd production (due to exceptional conditions we all know). The un-added track When a Blind Man Cries is good, but TBH, it would sound out of place on the album, because quite different sonically.
Fireball is quite good, but lacks the clear lead tracks (Strange Kind Of Women is ok, but not of SK, HS or SotW caliber)
WDWTWA is really weak, IMHO, and that starts with the songwriting. I definitely prefer Perfect Stranger to WDWTWA, especially if the Son Of Alerik bonus (PS-sessions) track should've been tacked on
You can make it much shorter by not spinning it all(I got rid of it 35 years ago)
I remember using that "moniker" back in early PA days, but I must've heard it first in the 90's.
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
I remember Living Wreck as sounding 'sludgy' (in comparison to some of the other tracks); I'll have to listen again. The odd note on Fireball is Anyone's Daughter; I like it's quirkiness but it does seem a bit out of place. Someone once reckoned they should have stuck that on the B-side of the Fireball single and replaced it with Strange Kind of Woman.
^ Didn't the initial US versions of Fireball actually have "Strange Kind of Woman" as replacement for "Demon's Eye"? The two tracks are obviously a bit reminiscent of one another, rendering it a bad option to have them in succession, I suppose. While I always thought "Anyone's Daughter" was an odd choice for them, it sort of fits the general idea of contrasting impressions so characteristical of Fireball. Of course, if they really needed to feature an acoustic ditty in the first place there'd better be better things than "Anyone's Daughter".
Looking back I always find them first and foremost an almost supremely uneven group. There's literally a wide array between the very good and the truly bad with them, and there's a certain suspician that they at times perhaps took a bit too lightly on the craft of pure songwriting itself. I mean, I can easily listen to Grateful Dead doing insect-like free elaborations in "Dark Star", Gong freaking out without a plan for 20 minutes or even Henry Cow executing 80 minutes of "Trondheim" - but I'm really not enticed by Deep Purple doing standalone showy solos on either instrument during half-hours of "Wring That Neck" or "Mandrake Root".
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Although still the weakest track on Fireball, I've warmed to 'Anyone's Daughter' a little over the years. And singles not being on albums was the norm among rock bands then. 'Black Night' wasn't on an album and neither was 'Strange Kind Of Woman's B side, 'I'm Alone'.
Funny how they felt 'Never Before' would be a hit from Machine Head, when IMHO it's easily the weakest track. The chorus really meanders and drags. I far prefer the B side 'When A Blind Man Cries'- as the remaster shows, that ends the album really well.
Anyone's Daughter was like a fly in the soup for me on Fireball. The rest of the album is great, though. Strange Kind of Woman (on the US version!) is my favorite track on Fireball, although it's arguably better on Made in Japan.
The production on Machine Head is very clean, but I've warmed up to it over the years. I happen to love all seven songs, and the cleaner sound seems to bring out the subtleties that DP had.
Having said that, there aren't many Purple albums I don't like, so I'm not the best judge.
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