979. Deep Purple / inFinite. 2017. 3.5/5

There is still a sense of awe and wonder every time it is announced that a new Deep Purple album is being released. Not simply because of the longevity of the band but because they can still come up with new material that is enjoyable to both old fans and new. And just like other bands of a similar longevity such as Black Sabbath, Judas Priest and Iron Maiden, as long as you aren't expecting an album that sounds like their halcyon period then you won't be disappointed.

"Time for Bedlam" leads off the album with hard hitting drums from Ian Paice leading the charge for the frenzy in the middle of the song of Don Airey's keyboards and Steve Morse's guitar to highlight the best parts of Deep Purple's legacy. There's more than a touch of the Perfect Strangers song "Under the Gun" in this song and I love the way it starts the album. This is followed by "Hip Boots" where Ian Gillan does a little bit of an Elvis Presley impersonation early in his vocals. The start of the song does throw me, even now after many listens, but once Morse's guitar envelopes the middle of the song everything is forgiven. There is a melding of the old and new on this song as well, but it is the new groove that dominates, with Gillan's vocals now settled in his middle age comfort zone, having dispensed with the high pitched notes and screams of his youth. "All I Got Is You" is led along by the beautiful sonding bass of Roger Glover, which effortlessly dominates the early half of the song underneath Gillan's vocals. It might be easy listening material, but it is quintessential Deep Purple even if it isn't the high energy hard rock of forty years ago. This song is the best example of it. There's nothing overtly hard rock about it musically, but it touches all of those same mood areas that this band always has for me.
"One Night in Vegas" continues with the same easy rhythm throughout. "Get Me Outta Here" does too, and it is perhaps these two songs that begin to bog the album down a bit. The middle here is just a bit too similar and simple tones, the 2/4 drumming and blues-like bass and guitar at an almost morbid pace drag out the middle section. "The Surprising" is a more mellowish played song that I would have expected. Is that why it is called The Surprising? "Johnny's Band" and "On Top of the World" again pull into the left lane and move along at just under the speed limit in type the previous few songs. There is however a magnificent mood throughout "Birds of Prey", led by Steve Morse's magnificent guitar work layered over the underlying rhythm of the organ, bass and drums. The finale of the song soars in a wonderful harmony that is a fitting send off for the album

Do you want me to be picky? OK, well as much as I admire Don Airey and his wonderful work with several bands throughout his career, his Hammond key work doesn't gel into the music as a seamless transition as Jon Lord's did. And yes, I know that's because Lord was a driving force in the band and no doubt Airey has to find his way even now after more than a decade. I just don't think it is as inspired as the organ normally sounds in Deep Purple. It's a small criticism, but one that still scratches my skin when I listen to the album.
It also has to do with the fact that this is a less raucous band now and the music is not as hard or heavy as it was in their youth, so the play off between guitar and organ that Blackmore and Lord had is not the same duel that Morse and Airey have in their music. They almost try to complement each other, whereas Blackmore and Lord pretty much tried to outdo each other.
Also, why the cover version of "Roadhouse Blues"? Is it just because they all love the song? Did they need to fill in time? Sure it sounds fine, but it is a very... tame... version of the song. There's just not a lot of energy coming from it, and for me it takes away from "Birds of Prey" as a closing number. It doesn't offer anything new, and it doesn't seem to serve any purpose.

After fifty years of music you can't help but admire this band and its members. Though they have ridden the wave of their own music, where at times they have been groundbreaking, the music they are writing now in the twilight of their career may not be the hard crashing amplifier thrashing stuff of their heyday, nor the mature hard rock of their middle age, but it is undeniably Deep Purple. And for those that have loved Deep Purple through their life, they will find enough familiar territory here to enjoy this for what it is. The musicianship is still absolutely outstanding, and Gillan's voice is still enough to make you smile in contentment. It's not going to break down barriers, but it will give you enjoyment nonetheless.

Rating:  "Bad news travels at the speed of flight, good news not at all".   3.5/5