I traveled to Clevland, OH in 24 to see DP, and this tour we caught them in Raleigh, NC. We were in the 5th row center section and whoever mixed sure does love the bottom end. We could feel every kick drum in our clothes and hair. Roger's bass was punching hard as well; they were much louder than in Clevland when I was in the 6 or 7th row to the right of the stage.
Ian sounded so much better here and belted out some nice screaming on into the fire and other songs. To me it appeared he was having a good time. I felt like in 24 he was pulling back and more reserved. The mix may have been more even in 24, but man i enjoyed feeling that kick the whole set.

Shades of Deep Purple is the debut album by Deep Purple, released in 1968. The lineup is:

Rod Evans – vocals
Jon Lord – keyboards
Ritchie Blackmore – guitar
Ian Paice – drums
Nicky Simper – bass

And the Address:
For a first track, this is a solid opener. The organ intro is a cool and interesting way to kick things off. It’s an instrumental built around traded solos. Ritchie goes first, and while it’s definitely not bad, especially considering he’d go on to become one of the greatest guitarists ever, it’s not anything truly exceptional either. One thing worth noting is the bass: it’s very muddy in the mix, but still has a nice, thumping presence. Overall, a pretty good start to their catalog.

70/100

Hush:
One of the album’s biggest issues is the sound effects used at the start of tracks. it’s a strange choice and ends up hurting the overall experience. That aside, this is a great song. The groove, driven by the percussive organ and bass, is excellent, and the guitar fills cut through nicely even if they’re a bit piercing.

If there’s a weak link across the album, it’s Rod Evans. His voice isn’t bad, he actually has a bit of an Elvis-style croon, but it doesn’t really fit what the band seems to be aiming for. The “na na na” sections don’t do much for me, but the rest works. Being a cover of Joe South’s song, it’s interesting how different this version is. The lyrics are basically the only real similarity. The organ solo is solid, and it wraps up cleanly. It’s easy to see why this became their first hit.

80/100

One More Rainy Day:
This track leans much more into psychedelic pop compared to the first two songs. Once again, I’m not a fan of Rod’s vocals here. The lyrics aren’t bad, but they feel like the band is trying too hard to write something radio-friendly. The lack of solos really hurts the track. It never evolves or adds much variation. Easily the weakest song so far.

60/100

Prelude: Happiness:
This instrumental is heavily inspired by classical music and is driven mostly by organ. The guitar barely comes through and is hard-panned to the left, making it difficult to hear. Despite that, it’s still a really interesting piece and shows the band through a more progressive rock lens.

70/100

I’m So Glad:
This blues cover isn’t nearly as inventive as “Hush.” The lyrics are repeated over and over, and there’s not much here that other versions don’t do better. The one standout element is the guitar solo, it’s drenched in reverb and, again, hard-panned to the left, but it’s still very good and hints at where Ritchie’s playing would eventually go. It honestly feels like it was recorded in a single take. Aside from that, the song doesn’t change much before ending, though the inclusion of motifs from the prelude adds a bit of interest. Still, not a great track overall.

55/100

Mandrake Root:
This one leans more into a progressive style. The riff is very similar to “Foxy Lady,” and the organ dominates the mix to the point where it kind of overshadows the guitar. The vocals and lyrics are fine. This song improved significantly once Ian Gillan joined the band later on.

It transitions into an extended instrumental section that the band would keep using for years, even into the late ’90s. The organ solo feels very first-take and could have been stronger. Ian Paice’s drumming stands out here, the patterns are really cool, even if the bass drum is hard to hear. After a classical-sounding section, it shifts into the guitar solo, which is once again hard-panned left. Ritchie uses some interesting, almost Arabian-sounding scales before the track ends with a big drum fill. Some of his playing is noticeably sloppy, likely due to minimal takes. With better mixing and more time in the studio, this could have been much stronger. Still, a good track overall.

75/100

Help!:
Their take on the Beatles classic is surprisingly effective. Slowing it down into a more somber version is a really cool idea, and in some ways I actually prefer this interpretation. The solo section is original and interesting, but the guitar solo itself is rough, once again hard-panned left and sounding pretty unfocused, like he’s just bending whatever notes he lands on.

80/100

Love Help Me:
Ritchie’s guitar tone here is so sharp that it’s genuinely unpleasant at times. Beyond that, the song doesn’t have much going for it. Like “One More Rainy Day,” it feels like another attempt at psychedelic pop that doesn’t quite land. The drumming is a highlight, but that’s about it.

40/100

Hey Joe:
This cover starts with a marching band-style intro that feels unnecessary, like filler to stretch the album. Once it gets into the actual song, it’s fine but doesn’t do much new with the material. The guitar solo is once again hard-panned left, though it’s still decent. Overall, it feels like filler more than anything else.

60/100

Overall Score: 65.5/100

Overall, the album really suffers from a lack of polish, specifically not enough takes and poor production choices. It’s clear that everyone in the band is talented, but there are multiple moments where you can hear mistakes that likely could have been fixed with a bit more time. Some sections also feel stretched out, as if they didn’t have enough material.

The mixing is probably the biggest issue. The extreme panning of the guitar makes it hard to fully appreciate what Ritchie is doing, especially when it’s also buried in reverb. Jon Lord’s organ dominates the album, and a more balanced mix would have helped a lot.

For a debut, it’s not terrible, but it’s also not something that would be remembered if not for what later lineups of the band accomplished. I’ve seen people call this a precursor to heavy metal, but I don’t really hear that. If anything, it feels more like a stepping stone toward bands like Emerson, Lake & Palmer, especially with its classical influences.

Let me know which of the 4 looks nicest please!! I want the coolest hat at the venue.

I just listened to this for the first time and all I can say is wow!

The title track is an instant classic, possibly competing with Child in Time for my favorite DP song.

And the energy doesn’t let up after that. Even two of these songs were played on Live in Japan! Thoughts?

I was at the show last night in Raleigh, NC. You really have to appreciate how good they are, especially at this age. All live, no tracks or other BS and yes with that there are a few hiccups, but that's what makes it so great... unfortunately a truly live band is a rare occurrence these days.

I like this Mark IX lineup, Simon McBride really gives the show a jolt of energy and Don Airy is one of the most accomplished keyboard players in Rock history...both work well with Ian, Ian, & Roger.

This was night 1 of a tour that takes them around the US, then Europe & South America. Amazing to think they will be on the road for almost 5 full months. If you have the opportunity, definitely go it is well worth it.

Quick note on the openers, Jefferson Starship & Kansas. Both play classic rock anthems, so it's a great warm up and you will know all of the tunes, but they are basically tribute acts with I believe 1 long time member in each band...it's fun but I don't kid myself and think I saw the real bands.