Deep Purple
Live In London

THE REVIEW

The discography of Deep Purple is overwhelmingly large. Between studio albums, live records, compilations, official and unofficial material, it feels like being in the Labyrinth of Knossos. And as if that wasn't enough, reissues and remasters of old albums, with some unreleased or alternative arrangements, add to it. "LIVE IN LONDON" is one of these cases. Released in 1982 as a single vinyl, last year the album was reissued on a double CD (over ninety minutes in total). In the original edition, for obvious space reasons, Space Truckin' was not included, but the other tracks were also a bit cut. Now, thanks to digital support, we have the opportunity to enjoy the show in its full version.

The recordings date back to 1974, during the tour that followed the album "BURN". There had just been a lineup change in the band with the departure of singer Ian Gillan and bassist Roger Glover at the request of guitarist Ritchie Blackmore, much to the satisfaction of keyboardist John Lord and drummer Ian Paice. They were replaced by Dave Coverdale on vocals and Glenn Hughes on bass and backing vocals. Coverdale had a low, warm tone, an enveloping voice well-suited for blues, while Hughes with his "screaming" didn't make one miss his predecessor. On paper, the new formation had little to envy the previous one and the beginnings proved it. First the excellent "BURN" and then a series of concerts in line with it, fiery ones!

The setlist presented is a good compromise between what the group wanted to play, the new tracks, and the awareness of not being able to give up some classics from the previous repertoire. The show opens with the biting riff of "Burn", one of the best tracks composed by Purple, where the two newcomers immediately make it clear they are not just "substitutes"; Blackmore and Lord take turns with instrumental virtuosity of a clearly neoclassical influence, akin to "Highway Star", while Paice beats the skins like crazy. No track could have had a more emblematic title. Following are two enjoyable and catchy tracks, "Might Just Take Your Life" and "Lay Down Stay Down", of evident funky blues inspiration, but played with that typical hard rock flair. This leads to the masterpiece "Mistreated", a tortured and intense blues rock, with a solemn and epic pace; extraordinarily suited to Dave's voice. That the song is something special is understood immediately, from that Fender intro so Hendrix-like, composed by the guitarist some time ago, waiting to find the right voice to take flight. An audience now in ecstasy follows an amused Ritchie in light phrasing that at some point turn into a hint of Lazy; then it's time for the riff of riffs, "Smoke on the Water" and it's a frenzy! The track is sung in two voices and the first verse, unexpectedly, is sung again instead of the third. A vocal soul diversion by Hughes at the end (Georgia on My Mind). At first listen, the track might sound strange, as one was accustomed to Gillan's superb interpretation, but it is just a fleeting sensation, destined to fade away; in any case, it's one of those magical anthems that would make a great impression even for a beginner cover band, let alone musicians of that caliber.

The second CD opens with "You Fool No One", originally a typical funk-rock track, here transformed into a long suite, an essential showcase of the quintet's flair. Paice's usual "drum solo" cannot, of course, be missed. The last track is that "Space Truckin'" excluded from the 1982 LP. In truth, Coverdale's voice doesn't seem to suit the original tone of the piece, thus the frequent interventions of Hughes in the higher verses are extremely useful. But in reality, what impresses is the long instrumental improvisation derived from the old "Mandrake Root", where guitarist and organist take turns in solo phases, stretching the piece to almost half an hour. In the long musical marathon, there is room for everything: Hard rock, Blues, some sprinkles of progressive, and vaguely psychedelic incursions, all the characteristic elements of rock from those years. Surprisingly, there is also a welcome reference to "Child in Time" and the musical theme from the film 2001: A Space Odyssey.

Overall, the performance is spine-tingling, the band is in splendid form and it shows; it also displays the desire to prove that, despite the changes, Deep Purple are still in the game, ready to amaze (too bad that shortly after, the balance within the band would again crumble). The sound is pretty "tough," I would say harder than usual, and Blackmore's Stratocaster shines beautifully. The editing work and audio output are excellent, considering these are recordings from the distant '74.

In closing, in the new remastered guise, I think it can be considered the best official live release of the band after "Made in Japan", highly recommended to the band's fans, and I would say to all those who love rock, the real one, played with passion, energy, and great class; but more generally, to anyone who cares about good music.