Deep Purple
In Concert

Reviewing a live album that captures Deep Purple in the full glory of the Mark II lineup is no easy task. Even less so when considering that numerous songs present in Deep Purple In Concert are included in the well-known, nearly unparalleled "Made In Japan," which has received ample (deserved) praise. In fact, those who listen to Deep Purple only occasionally will undoubtedly find the two albums very similar; the only substantial difference they will notice, besides a slightly altered setlist, is that "Made In Japan" sounds better than "In Concert" due to a higher level of post-production (and perhaps less genuine, I dare to add). Some might even complain about a review being unnecessary or even redundant; others might grumble with an unfortunate "make way for the young" and so on. Yet, personally, I believe that reviewing a double live of this caliber is a duty that must be fulfilled in any case. My wish, therefore, is that not everyone listens to Deep Purple only occasionally. And that some, like myself, think that the best of rock is perhaps behind us.

For each of us, there are records no longer belonging to the vinyl that produced them but are permanently intertwined with our history and personality like a cutting, almost an extension of ourselves; or, more simply, they remain hidden in the less rational part of our mind, continuing to secretly germinate. But they are there. It's a well-known fact: some records from our past have contributed, even if only in a minor way, to making us who we are today, and no one should claim otherwise because it would be nonsense. Everyone has their own record, and sometimes they don't even know why. But that's how it is. Here: Deep Purple In Concert is, indeed, My Record. The opinions that follow may, therefore, not be entirely objective, and I hope it won't cause unnecessary uproar.

I listened to "In Concert" for the first time in the summer of 1987. I was seventeen years old. It was recorded on an old cassette tape already worn out by numerous overdubs, and the quality was what it was (and who had the money for a CD player? The new format had been out for just a few years and cost not one but both eyes of the head, and frankly, I don't even know if there was a CD version of this double album at the time), but what I felt at the first listen I still keep intact and crystalline in my memory. I can't describe it, it would be like describing a sunset: I risk sounding banal or, worse, mawkish. But for me, it was literally like seeing. I had already listened to their collection of hits shortly before, and my budding metalhead repertoire was already considerable at the time, but the sonic impact I faced involved me in a storm of emotions that, even today, twenty years later, I can experience just as I did then. The double vinyl was mine after a few months (I believe I paid an enormous sum, well over twenty thousand lire, though I couldn't swear now...), and the CD version not too long ago. And without losing any eye in the process.

The songs contained in this double live album largely belong to the established "mythology" of Deep Purple, etched into the collective imagination much like the faces that fill the album cover of In Rock. Initially, the review concerned only the songs contained in the double vinyl; the CD version, in fact, also includes "Maybe I'm A Leo" and "Smoke On The Water," originally not included. As already mentioned, I own both versions, and even if My Record remains in any case the double vinyl, the live version of "Maybe I'm A Leo" is a rarity that cannot be ignored.

These are two live sessions recorded for the BBC in 1970 (disc 1) and 1972 (disc 2) that, however, only saw the light in 1980 (I will not delve into the commercial ploy) four years after the dissolution of the group, which fortunately returned to the scene in 1984 with the always solid "Perfect Strangers."

The first track is the visceral "Speed King". Ian Gillan (vocals) initially is slightly off-color, but the effort to be present compensates for some minor uncertainty and, paradoxically, makes him even more appreciated. Great interpretation from the rest of the band, certainly at the peak of their cohesion during those years. Ian Paice (drums) is a true leader, and immersed in his impetuous current, Jon Lord (keyboards) and Ritchie Blackmore (guitar) have great fun "mimicking" each other while Roger Glover (bass) blends the piece into a whole, making it a perfect combination of rock'n'roll and hard rock. Probably their killer song par excellence.

Next is "Child in Time" in a variant quite far from the one on "Made In Japan." Here Gillan deviates slightly from the studio version in the first chorus, while his furious screams remain unmatched (and unmatched). No surrender, no compromise (I was lucky enough to see the same lineup in '92 in Forlì with this piece, and I still thank God or whoever today...). Although Coverdale was an exceptional singer (and in some ways the best in the band's history, without forgetting the notable performances of Hughes in Mark III and Joe Lynn Turner in Mark V), the Mark II remains, among all, probably the most distinctive, incisive, and muscular. Blackmore is furious and sharp, so much so that the central part of the piece becomes effectively his own territory; in "Made In Japan," Lord's keyboards accompanied in the background and, in a sense, softened the roughness of his guitar; here, in the central two minutes, it's almost exclusively Blackmore's solo in a rawer version and certainly not inferior to the one in "Made In Japan." A side note that many might already know: the famous motif of "Child In Time" was at the time borrowed from another song a year younger, "Bombay Calling" by It's A Beautiful Day (besides, as far as I know, the Purples never made a secret about this). While it can't properly be called a cover ("Bombay Calling" is a much shorter and only instrumental piece), it would not be fair, either, to make comparisons and contrasts between two significantly different songs: "Bombay Calling" is at most an agreeable and catchy tune, "Child In Time" has been and remains above all a hymn against war.
Next is "Wring That Neck", an instrumental piece of 19 minutes, contaminated in many parts by brief interludes alternating between Lord and Blackmore. And then digressions, experiments, unlikely combinations of improbable sounds that literally leave the audience stunned. A tremendously entertaining piece to listen to and, I imagine, to play. And even if at times Lord's performance on keyboards shows some flaws and imprecision, the sounds this gentleman manages to extract from his Hammond organ have no comparison to anything else on the planet. Neither back then nor now.
The first disc closes with "Mandrake Root", another song of nearly 18 minutes where Gillan confirms, if it were still necessary, his exceptional vocal abilities in the first part of the piece. Here too, there are sonic experiments that remain unmatched to this day, enhanced by an absolutely captivating rhythm section where Paice gives the impression of playing with four hands and four feet. Without taking anything away from various Lombardo, Bostaph, or Christy, here we face something unheard of, especially if we put ourselves in the shoes of a listener attending a performance like this in the early '70s.

The second disc begins with the classic "Highway Star", with the whole band shining in proposing, this time without particular upheavals and experiments, the piece as we know it in the studio version, albeit, as usual, in a much more engaging manner. Because every live song by Deep Purple of the Mark II line-up is a story on its own, a unique and unrepeatable episode, nothing to do with setlists, technical times, and clock hands.
Next is "Strange Kind of Woman", a thoroughly enjoyable piece in its entirety and especially remarkable in the second part, with the irresistible Blackmore/guitar Gillan/vocals duet, and the high-pitched final scream (more incisive than the one present in "Made In Japan") that leaves one speechless. However, Gillan is not just about vocal range and stellar screams; he proves to be an excellent professional in every interpretation, not disappointing expectations here either (another note: many current singers should worry less about retouching their vocal performances in the studio and focus more on their stage performance...).
As mentioned, "Maybe I'm a Leo" is a gem from the CD version, with soft and mellow keyboards contrasting with Blackmore's rough and teasing riffs. The piece is delightful; I would even describe it as a true delight. Listen to believe.
"Never Before", another band classic, introduces "Lazy", one of my favorite pieces from the entire Deep Purple catalog. The song opens initially with a sequence of hypnotic sounds that Lord expertly extracts from his faithful instrument, followed by the chorus executed in unison with Blackmore. A vigorous, impetuous piece, with the inevitable and playful interlude of Gillan and his harmonica sculpting songwriting halfway between a slight boogie and the most frantic rock blues daringly played at the time.
And here is "Space Truckin'". 21 minutes and 46 seconds of delirium. Here, too, Gillan delivers a performance worthy of his reputation, but he is certainly not the only standout. Because after the first 5 minutes "under his jurisdiction," our man withdraws dutifully into the shadows and leaves room for a chase of sounds, effects, and inventions composed by a long "suite" of keyboards and mad guitars, noises, and distortions that catapult the listener into an absolutely unrepeatable oneiric jumble. The drums are a constant vibration, an incessant beat that gives no respite, a cadence that, with Glover's bass, perfectly blends Lord's keyboards first and then Blackmore's sick guitar. Pure experimentation that unfortunately no one today would even dream of daring. Anyone wishing to give it a try is welcome...
"Smoke On The Water" largely retraces the execution heard on "Made In Japan," although the song's start is truer to the studio version. Unfortunately, Blackmore initially makes a mess, seeming to lose time during a very simple chord (around the 2:40 mark), and during the well-known central solo, he doesn't put much effort in; indeed, it seems something is not right. Overall, a piece nonetheless well played and very pleasant (exceptional Lord), but these two flaws from Blackmore (quite evident, indeed) spoil the harmony of a song that, for what it represents, absolutely didn't deserve it; it was perhaps for this reason that in the 1980 vinyl version, space was given to other pieces at the expense of this one.
"Lucille" is the piece that closes this double live album in the most fitting and at the same time unsuspected way. "Lucille", for those few who don't know, is a little song originally written by Collins and Penniman (the most known version is certainly the one sung by Little Richard, as Gillan reminds at the beginning of the piece), and to tell the truth, the original doesn't have much to do and especially hear with the one re-proposed by our band. The piece is literally magnificent, thrilling from the start, made even more engaging by Gillan's incitements and his unmistakable screams. Pure rock'n'roll like it was never played, a true wave of adrenaline, a piece one wishes would never end, closing a double live that I would describe as absolutely extraordinary. 

What else to add? That there is another double live album titled "Scandinavian Nights" recorded in Stockholm in 1970, and some declare it as the band's best live (well, it includes, for example, a "Wring That Neck" of "just" 32 minutes, a frightening "Into The Fire," an absolutely exceptional "Child In Time," and an unreleased "Paint it Black" taken from the Rolling Stones: mind-blowing stuff). In fact, it could even be so. Maybe instead it's "Made In Japan" their best live, and probably it is. Or perhaps "Made in Europe." Or maybe "California Jamming." Or "Live in London." Etcetera. However, My Record is a whole different story. And surpasses every other Deep Purple live. One of the most exceptional bands in rock history.