946. Deep Purple / Rapture of the Deep. 2005. 3/5

Deep Purple's previous release Bananas had caught me by surprise. It was not of a style that I was expecting from the band, and as a result it took me a number of listens to really come to terms with that. And so when I first got this album on its release, I was determined not to go in with any undue intentions, and let the music tell me its tale without and preconceptions on my part. After all, it was a Deep Purple album, a band that was at the forefront of all genres of music in the last 1960's and early 1970's. It deserved my consideration.

I think it's fair to say that a couple of personnel changes have made the band rediscover where they were at. Steve Morse's guitar had revitalised the band after the departure of Ritchie Blackmore, while Jon Lord's departure had brought in the excellently capable but diversely different Don Airey to take on the keyboards role. And what I hear on this album is something from the cabaret lounge, or the blues club in the basement. It is a band that sounds comfortable in themselves and their environment - and also of their position in the lives. They are no longer the energetic young men who rocked the stages around the world in their heyday, writing and performing songs that stormed the charts and drew audiences to their feet to stomp along in time. That was their ground breaking days, when they wrote songs that will outlive them all. Now we have a band that are happy to slow down the speed and the energy, and put out there songs that they are happy to play in this stage of their career.
It is an obvious statement to make that there is nothing wrong with doing this, nor is there anything extensively wrong with the songs on this album. But it is a real difference in what they have been doing before this, to the point that the deliberateness shown here feels as though it was a decision reached perpetually by all members. This is an album for listening to in an armchair during down time, not for throwing on at a party to liven up the crowd. As much as I admire Don Airey's talent on the keyboard, his style is so different from Jon Lord that it is hard to come to terms with this being a Deep Purple album, because it doesn't contain those wonderfully flavoured Hammond organ licks, duelling with the guitar in a full flow-on effect. Ian Gillan's vocals are still terrific, but he has mellowed along with the songs on offer, and so we get an upbeat blues feel in most of the music, which to me doesn't grab me. Steve Morse still breaks out on occasions so showcase his great skills, and the rhythm section of Ian Paice and Roger Glover is as fantastic as ever, but in a different vein.

There is certainly enough here for the long term fan to listen to and enjoy, as long as that fan is able to adapt along with the band. Because this is old person's music performed by older men who are happy to settle into this stage of their lives. It would be unfair to anyone to compare this album to any of those that have come before it, because they are a completely different style in a different age. Elder statesmen amongst the fans will enjoy this for what it is, but the kids might just listen top this and wonder what all the fuss is about Deep Purple and their legacy.

Rating:  "I feel I ought to tell you, but it's clearly quite absurd".   3/5