Deep Purple
Slaves And Masters

THE REVIEW

A new lineup change occurs with the release of this "Slaves And Masters." Thus, the fifth formation, or mark, of Deep Purple takes shape. Produced by Roger Glover and released in 1990, "Slaves And Masters" features a familiar voice to Rainbow fans: Joe Lynn Turner. As anticipated in the previous review, Gillan is, so to speak, amicably dismissed. Having been engaged with Glover in the production and promotion of "Accidentally On Purpose" for two years, he prefers to dedicate himself entirely to his work and leave the Purples to their own devices. Glover was also supposed to follow him, but partly due to the album's failure and partly because the remaining members couldn't find a bassist of the same level, he quickly returns to the band. Tuner is a competent singer, but one I never liked. In my opinion, he marked the stylistic downfall of Rainbow towards a more radio-friendly sound, clarifying, however, that Rainbow was only doing what the Man In Black ordered. The downfall also occurs on this album. "Slaves And Masters" is an AOR album that disappoints Deep Purple fans, as it takes on a shamelessly commercial guise. If we add a series of lyrics centered on a very unusual theme and quite outside the band's standard, then the result is obvious. "King Of Dreams" opens the show. In reality, this track is of good quality, despite being very "polished," containing a melodic refrain that suits Turner's distinctive voice well. The following "The Cut Runs Deep" is good hard rock introduced by an excellent piano phrase by Mr. Lord. Nothing to say about "Fire At Basement" which seems like "Lazy" presented a tone higher: pure craftsmanship. With "Love Conquers All" and "Truth Hurts," the Deep gives us two tracks that can be defined as unworthy. It's pointless to underscore again that these are lyrics centered around passionate themes, but most importantly, the first song is disgraceful for Deep's trademark. It sounds like a Bon Jovi piece or any other artist you can think of dedicated to horrific ballads that strongly pander to the most commercial pop there is. "Breakfast In Bed" and "Fortuneteller" remain quite anonymous. Strangely, the album gains a little in the end with a rock track "Too Much Is Not Enough," the only song written solely by Turner in addition to other unknown characters to me named Held and Greenwood. And especially with the concluding "Wicked Ways," I catch my breath a bit and refrain from breaking anything close by due to disappointment with the CD. The aforementioned track is reminiscent of Rainbow as they were in the '80s, but in comparison to previous pieces, this is a much-appreciated work. What can I say? This is one of the few absolutely avoidable albums in Deep Purple's discography. I wouldn't recommend it even if you're in depression due to emotional issues.