Deep Purple  

Formed: London, England . . . 1968 intially as ROUNDABOUT, by former Searchers sticksman, CHRIS CURTIS. He duly recruited classically-trained organist, JON LORD and guitar maestro, RITCHIE BLACKMORE, who was living in Germany at the time. By Spring of that year, the band had become DEEP PURPLE with NICK SIMPER on bass and ROD EVANS on vocals. Their debut single, a cover of JOE SOUTH's 'HUSH', reached the US Top 5 and the band were subsequently furnished with a three album
contract, signing with 'Tentagramme' in America (a label run by US comedian Bill Cosby!), 'Parlophone'in Britain. This line-up (known as Mk.I in DEEP PURPLE parlance) recorded three albums, 'SHADES OF DEEP PURPLE' (1968), 'BOOKOFTALIESYN' (1969) and the eponymous 'DEEP PURPLE' (1969), littered with chugging, proto-metal covers of the era's pop hits a la VANILLA FUDGE. Following the collapse of 'Tentagramme', the band signed
with 'Wamers', drafting in IAN GILLAN and ROGER GLOVER (both ex-EPISODE SIX) to replace EVANS and SIMPER respectively. The revamped line-up's first release was the pseudo-classical drivel of the live 'CONCERTO FOR GROUP AND ORCHESTRA WITH THE ROYAL PHILHARMONIC ORCHESTRA' (1970). Thankfully, after the record failed to sell in any great quantity, common sense prevailed and BLACKMORE steered the group in a heavier direction. 'IN ROCK', released later the same year, announced the
arrival of a major contender in the heavyweight arena alongside the likes of BLACK SABBATH and LED ZEPPELIN. Preceded by the lumbering 'BLACK NIGHT' (No.2 in the UK) single, the album was dinosaur rock before the phrase was even coined; the pummelling rhythm section of GLOVER and PAICE driving the beast ever onward while BLACKMORE's razor sharp guitar solos clawed mercilessly at lord's shuddering organ. 'CHILD IN TIME' was the ballad, the full range of GILLAN's talent on show as he progressed from mellow musings to his trademark glass-shattering shriek. While 'FIREBALL' (1971) was competent, if lacking in the songs department, 'MACHINE HEAD' (1972) was the DEEP PURPLE tour de force, the classic album from the classic Mk.II line-up. Cuts like 'HIGHWAY STAR' and 'SPACE TRUCKIN' were relentless, high-octane metal riff-athons which became staples in the DP live set for years to come. 'SMOKE ON THE WATER' probably stands as the band's most famous track, its classic three chord bludgeon and tale of disaster averted, reaching No.4 in America upon its release as a single a year later. This further boosted 'MACHINE head's sales into the millions, DEEP PURPLE
now firmly established as a world class act. The band also had a stellar live reputation, the concert double set, 'MADE IN JAPAN' (1972), going on to achieve cult status among metal afficiondos and earning the group a place in the Guinness Book Of Records as loudest band, woaargh!! As the heavy touring and recording schedule ground on, the beast began to stumble, however,
recording a further, fairly lacklustre album, 'WHO DO WE THINK WH ARE (1973), before disintegrating later that summer among constant in-fighting and personality clashes. BLACKMORE, LORD and PAICE remained, enlisting future WHITESNAKE vocalist DAVID COVERDALE on vocals and GLENN HUGHES (ex-TRAPEZE) in place of GLOVER to create DEEP PURPLE
Mk.111. 'BURN' (1974) and 'STORMBRINGER' (1974) were characterised by COVERDALE's bluesy voice, although the new boy and BLACKMORE were not exactly fond of each other, the latter eventually quitting in 1975.
His replacement was semi-legendary guitarist TOMMY BOLIN, who graced 'COME TASTE THE BAND' (1975). Less than a year later, however, DEEP PURPLE were no more, the behemoth finally going belly up after the perils of rock'n'roll had finally taken their toll. While BOLIN overdosed on heroin, of the remaining members, GLENN HUGHES reformed TRAPEZE while COVERDALE formed WHITESNAKE. BLACKMORE, meanwhile, had not been simply sitting around stuffing cucumbers down his pants and turning his amp up to 11, he had formed the rather grandiose-sounding RITCHIE BLACKMORE'S RAINBOW. The other key member of DEEP PURPLE, IAN GILLAN, had also been equally prolific during the 70's, initially with the IAN GILLAN BAND. A revamped DEEP PURPLE is where the paths of messrs. BLACKMORE, GILLAN, GLOVER, LORD and PAICE (the latter two had dabbled in solo and group work throughout the 70's) crossed
once more. While the comeback album, 'PERFECT STRANGERS' (1984), was welcomed by fans, it became clear that the ever-dominant BLACKMORE was being as dominant as ever. After another relatively successful studio effort, 'HOUSE OF BLUE LIGHT' (1987), and a live album, GILLAN was given the order of the boot. Typically incestuous, DEEP PURPLE then recruited ex-RAINBOW man, JOE LYNN TURNER, for the awful 'SLAVES
AND MASTERS' (1990) album. In an increasingly absurd round of musical chairs, GILLAN was then reinstated, consequently clashing once more with BLACKMORE who eventually stomped off to reform RAINBOW. DEEP PURPLE lumbered on, recruiting STEVE MORSE for their 1996 album, 'PURPENDICULAR'. 'ABANDON' (1998) was another to disappoint their ever faithful support who were literally growing old and grey waiting for them
to retire. If The ROLLING STONES are still rolling, some might say, what's to stop DEEP PURPLE? Well, considering The 'STONES have had around three line-up changes in their whole career while DEEP PURPLE have almost managed the same number for each album, the future doesn't look particularly 
promising.