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Thirty seconds, not one more. Just half a minute of “Speed King” , the topic that opens In the Rock, to feel the force of a band that was eager to display his musical project. The battery is powerful Ian Paice and the rage electric guitar for Ritchie Blackmore , like a wild animal that is removed from the muzzle after several weeks of punishment and give free rein to your instincts. A pure energy discharge. Thirty seconds, he said, that is sufficient if we trace the comparison with the disk prior to that the group had published eleven months before and demonstrate a abyss of a musical, to a quintet free of the chains that sought his creative freedom.

Deep Purple I have left behind his past pop and established with In Rock, released in June 1970 and now they meet fifty years, the foundations of the sound heavy and desbrozaba a path of success that would culminate just three years later with “Smoke on the water” and the legendary Made in Japan, before entering in one of its spiral self-destructive, a constant in the band during the seventies. Half minute to deny his own past.

let’s Put a little bit of context. Deep Purple was not born on the backs of the chords electric Blackmore and screaming in falsetto Ian Gillan . When, in 1967, released Shades of Deep Purple, with Rod Evan s as a solo singer, Nick Simper on bass, and Blackmore with a Gibson semiacústica, Paice on drums, and Jon Lord to the keyboard, their sound fluctuated at times between the Birds and Cream . Organize a cocktail party psychedelic light years away from the rock that came past.

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Almost by chance, your version of the “Hush” of Joe South became a pitch immediately in the united States, and the English Deep Purple were pushed to continue feeding a commercial style that is not liked at all. But filled his pockets and took in a tour of Latin America frantically. After the next Book of Taliesyn, Blackmore and Lord are aware that their music does not evolve , and that Simper and Evans are a drag of that rolled back, even before his seal-lance Deep Purple, his third studio album in July of 1969. On those dates already have a new singer and bassist. It began to be written the history.

The reinvention of deep Purple in Rock had two names: Ian Gillan and Ritchie Blackmore. The first, a singer, a fish with the loop of the Episode Six in 1969 and that brought a breathtaking dimension vocal compositions , the second, the guitar that he admired Hendrix and I wanted to explore up to where I could reach. One and another would end up hating one another to the absolute limits (“as you approach my area of the stage you atizo with the guitar” came to threaten Blackmore during the tour of the 72), but the current in the clash were born three disks for the story, In Rock, Fireball (1971) Machine Head (1972). Lacking a bassist, and Gillan was brought from his previous band to Roger Glover . The quintet magic is closed.

“In Rock”, with its iconic cover, in which the members of the band are carved in your particular Mount Rushmore, meet the middle sigloEscultores of classics

The group had not his own compositions when he meets for the first time to the full in the exfoliated Hangwell Community Centre of London to rehearse, a venue full of echo where sound good was a miracle. To Blackmore just goes puntearse the “Fire” from Hendrix, and Glover and Paice will follow. Day one already sculpt a classic, “Speed King”. Day two, testing the extent of the high register of Gillan, born “Child in Time” , surely the epitome of the sound of the Purple of this first time, and showed to the public in September of 1969 in the Royal Albert Hall as an aperitif-Concert for Group and Orchestra, composed by Lord, and they sang along to the Royal Philharmonic . The band desvelaba his new personality, where the rock’s most rabid is able to merge with a sections of string and wind without losing their identity. In Rock began to be recorded in November 1969 between the studies IBC, De Lane Lea and Abbey Road and saw the light of the 5 of June of the following year, with “Black night” as single, as required by his record label, Harvest Records, a subsidiary of the home EMI.

In Rock is not a disc of maturity, but a work that anticipates, proclaims in pieces such as “Flight of the rat” or “Hard lovin’ man” . You can that with the pretense of knowing what that LP contained was not a better album, the quintet is portrayed for the cover in your particular Mount Rushmore , chiseled on the rock to endure.


With the band playing live with an overwhelming force, finding himself comfortable in the improvisations of Blackmore (as master and lord of the Fender Stratocaster ), the challenges vocal from Gillan and keys great Lord, creativity bulle , and in just two years, are the studio albums that explain the Purple and its phenomenon, which is kept alive until our days, when it is announced a new album for August —despite the fact that the band played their “farewell tour (Farewell Tour)” during 2019— or as a tiny shadow of what it was (to Gillan’s voice lasted two newscasts), but still moving a legion of fans around the world.

Deep Purple, more than a band, it was a universe that expanded and contracted according to the times and the and dispositions of its members. Able to eject from its orbit to Gillan and Glover, but shining like a young star after adding to David Coverdale ( Whitesnake ) or Glenn Hughes , and even overcome shortly to the progress of the cyclothymic Blackmore the planet Rainbow , and would return to the fold for a reunification in the eighties that would end up, again, with anger with monumental Gillan and farewell final. The singer, who came to be (very) briefly of Black Sabbath , he recorded the first version of Jesus Christ Superstar (he declined to star in the film adaptation by being on tour), and enjoyed band of their own… And so on until the ends of the smoke on the water on the shore of Geneva, by the highway of the stars.

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