The year: 1968. The country: England. The Band: Deep Purple. The musicians: Ritchie Blackmore on guitar, Jon Lord on Keyboards (Hammond B3, to be precise), Ian Paice on drums, Nick Simper on bass and Rod Evans on vocals. Nick and Rod who? You might ask. For casual rock fans, these names mean little to nothing, probably little more than a footnote on the archives of RN'R. But for true DP diehards and rock scholars, those names are essential to understand the original equation that brought Deep Purple to life. Indeed, without Evans and Simper, no Mk I, no Mk II (and therefore no In Rock, no Fireball, no Machine Head, etc...well, you get the idea...), Mk III, Mk IV...simply put, no Deep Purple (saga). These 5 men came together thanks to the vision and efforts of businessman and manager Tony Edwards, who was originally working to form a band around drummer Chris Curtis (hence their original name, Roundabout). Why do I bring this up? Who cares about business history when reviewing a CD? Well understanding is everything, and in this case, understanding the context in which the band was formed and in which it worked will shed additional light over their early musical output: basically the band came together as a business venture first, musical project second. They already had a tour of Scandinavia booked before recording a single piece of music. They already had an American record deal without ever stepping into a recording studio as a band. With that in mind, the band had to come up with a set list for the tour and songs for a record in no time. And come up with songs they did: they worked out some fascinating arrangements of some cover tunes, added a few originals and off they went.

Shades of Deep Purple (***1/2), their first record, became an instant hit in America thanks to the success of first single "Hush" (a cover of a Joe South tune). The record also featured new takes on classics such as "Hey Joe" (made very famous at the time by a certain Jimmy Hendrix), "Help" (The Beatles, receiving high praise from McCartney himself), and "I'm so glad" (also covered by Cream). On the original material front, Shades starts off with the powerful instrumental (how bold is that??? How many bands start their debut album with an instrumental?) "And the address", which can sound a little awkward for newcomers, but is a great track nevertheless; next is the slightly psychedelic "One more rainy day", the potent (and mostly instrumental) "Mandrake root" which would occasionally pop up in the band's set list well into the 70's, and the fast and rollicking "Love help me". Overall: it's pretty darn good, especially for a first album written, arranged and recorded in a matter of days, but the truth is that I prefer Cream's version of "I'm so glad" and, while I'm not a Beatles fan, I prefer the original "Help". This is by far the poppiest, more radio friendly of the 3 albums.

Conceived in equally frantic circumstances, The Book of Taliesyn (****) nevertheless showed an incredible evolution. Indeed, wanting to capitalize the success of the first album released in the U.S in July '68, their label asked for a NEW album to promote for their tour in...October!!! So once more, the band was shoved into the studio and asked to deliver. Without the luxury of time, the band followed the same format of their first record: covers of Neil Diamond's "Kentucky Woman" (their second hit, not a smash, but a hit nevertheless), the Beatles "We can work it out" and Ike and Tina's "River Deep, Mountain High"; original rockers such as "Listen, Learn Read on", "Wring that neck" (another instrumental), and much more ambitious numbers (featuring string arrangements, among other novelties) "The Shield" and "Anthem". These songs, along with the more sophisticated arrangements of the covers, started to suggest a very personal and very new direction. Their identity wasn't quite defined yet, but they were on to something big. And it is a lot of fun to picture guitarist Ritchie Blackmore playing some of these softer songs with such restraint, coming from the man that would eventually grace us with hard rocking masterpieces such as "Burn", "Highway Star", "Kill the King" and so many others. This record is the one that shows the band's early progressive leanings the clearest.

Deep Purple (*****), the third album from this inaugural lineup, is without a doubt the strongest of the trilogy of albums from Mk I. Unfortunately, it is also the last: recorded in early 1969 but released after the reshuffle that saw Simper and Evans be replaced by Roger Glover and Ian Gillan respectively, this record very much went virtually unnoticed, both in England/Europe (where the band had so far failed to gain a truly strong following) and America, where its distribution was greatly compromised with the demise of their American record label, Tetragrammatron.

This remastered edition allows us to confirm the fact that the band was now closer than ever before to gaining a true identity of its own: the record was filled with original material and only one cover (of Donovan's "Lalena"...mesmerizing), and it showed a confidence and a power that wasn't quite there with the previous albums: indeed, opener "Chasing Shadows" is a powerful number where the drums and bass really steal the spotlight; "Blind" is a slower number with an amazing work courtesy of Jon Lord; "The Painter" is a truly great number, with Ritchie really pulling all the stops with his playing; "Why didn't Rosemary" forecasts some of the music the band would do on later records; "Bird has flown" is a number where the band shines as a whole, and epic "April" is a true crown jewel, symphonic and intricate, schizophrenic and captivating all at the same time. And Rod Evans gives probably his best performances ever. And the record also showcases, for the first time, the dueling organ/guitar breaks that became a Purple trademark. This is the most hard rocking album of the set.

All in all, this set is truly awesome: it has been painstakingly remastered for the clearest, loudest sound, and it is a true joy to listen to. There is a lot to like here, and the remastering alone is well worth the price of the set. But as if that wasn't enough, all the CD's have additional songs: BBC sessions, TV appearances, B-sides, and outtakes that make the package even more attractive and that are worth paying for (some of my favorites are "Emmaretta", "Hey Bop-A-Rebop", and "Shadows", "It's all Over", etc).

Sure, these are not the records that turned the band into the rock institution that it eventually became, but rather the stepping stones for that. This set IS NOT for the casual fan, though. And it would be cheaper to get the single disks (released stateside by Spitfire Records) than this package. If you enjoyed "Hush" and "Kentucky Woman", I'd recommend you to get "The Early Years", which is a remastered, single disc "best of" of sorts of this early period of the band, and then dig into this. You can't go wrong with any of these CD's and you're guaranteed to find a lot to like in here. I know I did, and this from a guy who originally didn't even like "Hush"...

Prior to Deep Purple recruiting vocalist, Ian Gillan and bassist, Roger Glover, the band recorded these first three albums in 1968 and early 1969. This lineup of the band is more of a hard rock version of the Moody Blues. It's truly an embarrassment that these three albums are unacknowledged, because they're really impressive and really quite good, almost as strong as the "classic" lineup's material. In fact, some fans consider these albums the high water mark of the DP legacy. This box set featuring all three of the Evans/Simper-era albums at a steal of a price.

These are the MASTERED versions of the albums, the reason I say it that way is, I don't believe these were ever "mastered" in the first place. I've heard these albums on CD back in the late eighties and nineties and they sounded like semi-scratchy records. But, with these discs you get crisp and clear sound from the original two inch master tapes, with bonus tracks on each CD! These include outtakes, live recordings and BBC material. No fan of Deep Purple should be without these trinkets. Quite a steal!

An absilutely brilliant Box-set, including all the three albums of the first line-up. Though, usually dismissed as the least important of the many personnel variations tha band had through the years, this lot, with Rod Evans (vocals) and Nick Simper (bass), has a sort of magic, maybe something of the innocence of the Sixties, in their legacy. The atmosphere on the First two, 'shades' and 'The Book..' has that summer sunshine feel in them, while 'Deep Purple - Deep Purple', their third, is a true masterpiece - unrecognised as such yet and shamefully underrated but 100% unique in all aspects! (should be in anyone's top 5 best psychedelic albums ever) and by far, Purple's darkest attempt and perhaps, their heaviest, at least in spirit, as well.

Another great thing about this box is the small 'booklet' - sleeve notes, that's included with each CD - telling in details the band's story at the period of recording the Particular album. Especially interesting, is the story of 'Shades', the first one, that also tells the story of how 'Deep Purple' came to life, which is fascinating actually - Did you know that they were formed exactly like all the 'the boy / girl bands' of today are? Buy this - you won't regret it.

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.

Since this package encompasses the first three releases I am repeating the reviews from the first two recordings and finishing with a review of the third album. Thank you.

It's not uncommon that a rock and roll band has a history that is forgotten about. Many times, it is for the proper reasons. Deep Purple's first incarnation "Mark I" had three terrific records. If they never created another note, they could be proud to have composed such great material.

While to most of the musical universe Deep Purple is "Mark 2" featuring the intense and strong vocals of Ian Gillian and Roger Glover on bass, the prior story begins in 1968. Rod Evans (One of the most underrated singers of the era) and Nick Simper (Bass) may not be household names but were very much a part of the foundation.

"Shades Of" isn't "In Rock." That is not a swipe in the least. It is only a warning to those that are looking for the more metal and improvisational side of the band. What the initial album consists of is terrific material and well-blended rock with Ritchie Blackmore already way ahead of the curve and only to get better.

"And The Address" opens with a tasty riff that you don't forget. It's a solid choice to lay down the landscape of what will follow.

"Hush" is indeed the cover of the Joe South tune. Purple may very well have the definitive version. It is still played on rock radio to this day.

"One More Rainy Day" features a well-crafted sound by Jon Lord on the keyboards. Evans vocal feel is superlative.

"Prelude"/"Happiness"/"I'm So Glad" covers the musical spectrum in a bit over seven minutes. "I'm So Glad" is the timeless tune written by Skip James that was made famous by the incredible Cream version. Purple chooses not to intensify it to that degree but finds a perfect direction using a mid-tempo arrangement and first rate drumming from Ian Paice.

"Mandrake Root" is Purple's first journey into the land of improvisation. As they explore uncharted waters, the band jells well. Jon Lord's keyboards are mixed high giving a memorable performance.

"Help!" needs no introduction. The Beatles classic (Lennon/McCartney) is slowed down to a totally different and unique arrangement. The vocals are heartfelt and the results are pleasant!

"Love Help Me" pays homage to the psychedelic sounds of the 60's Although it may be the least known song on the record it clearly belongs.

"Hey Joe" closes the festivities. There is debate if Billy Roberts wrote the song but never a question how endless versions from Hendrix to Purple will live forever. This rendition isn't full of fire but it packs enough of a punch to get the job done.

Make sure to purchase the remaster with the five bonus tracks because "Shadows" is strong enough to have been included on the original disc.

Enjoy the music and be well,

Craig Fenton

Author of the Jefferson Airplane book "Take Me To A Circus Tent"

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.

"The Book of Taliesyn" brought Deep Purple closer to the appearance of the famed and great "Mark II" line-up. Ian Gillan and Roger Glover would raise the bar even higher. Before they become part of the fold, there is the tremendous second album and the self-titled third.

"Listen, Learn, Read On" leads off the second Purple release. Possibly, by design the record starts with the shortest tune and ends with their epic cover of a Motown classic. "Listen, Learn, Read On" Features a terrific and varied vocal by Rod Evans along with a perfect guitar solo by Blackmore. Ritchie already is finding his way and it isn't only the ability to excel with his leads and fills but the perfect tone to coincide with the song.

"Hard Road" also known as "Wring That Neck" is the perfect instrumental. Blackmore is tasty with a timeless riff supported by Ian Paice's drumming and Jon Lord's in your face but not over the top keyboards.

"Kentucky Woman" is a wonderful cover to the Neil Diamond hit. Purple does a well-rounded interpretation and deserves credit for not only pulling off a well-respected interpretation but also being open-minded in their selection of non-group recordings.

"Exposition"/"We Can Work It Out" gives us two for the price of one. Starting with their own composition of high energy- merging into a slower cover of the Beatles legendary song. This is the second Beatles selection ("Help" was recorded on the first LP) they pulled off well.

"The Shield" one of the best efforts from the Purple "Mark I" line-up is also contains a superlative singing job by Rod Evans. The lyrics are intense and the clarity and conviction only further engrave them in your mind.

"Anthem" with a mid-evil keyboard sound and a Blackmore guitar that enhances the dark mood is the most overlooked composition on the record but not any lesser.

"River Deep Mountain High" has been interpreted by performers from all musical avenues. The tune partially written by record producer Phil Spector has been enjoyed not only by Motown fans (Four Tops, Supremes, and Ike & Tina Turner) but also by those having purchased records by the Animals, Harry Nilsson, and Bob Seger. Deep Purple's ten minute journey is the most adventurous of all the renditions. It could have been easily too long if they were anything less. With the Blackmore/Lord combination, it takes on a life of its own. Never is there a passage you call superfluous. A climatic ending to a great production.

Make sure to please get the remastered version with the five bonus tracks lead by "Playground." Between Blackmore's aggression, Lord's perfect keyboard, and some terrific nuances by Ian Paice it is a must listen!

Enjoy the music and be well,

Craig Fenton

Deep Purple's self-titled third release would bring an end to an amazing chapter of the band. Ritchie Blackmore, John Lord, and Ian Paice were looking to move into heavier rock territory as well as explore a mixture of classical music with the combination of an orchestra and Purple on stage (Concerto For Group & Orchestra). Rod Evans (Vocals) and Nick Simper (Bass) would not be part of the most famous of Dee Purple line-ups called "Mark II."

They still had the business at hand, to record one more record with the initial players. Coming off two tremendous efforts "Shades Of" and "Book Of Taliesyn" this wouldn't be the easiest of tasks.

Purple left no doubt from the opening track "Chasing Shadows" that the album would be off to a grandiose start. Between Evan's excellent vocal and the Blackmore guitar this was the perfect tune to begin the eight song journey (Not counting the bonus tracks).

"Blind" pays homage to the psychedelic vocals of years past. These aren't lyrics thrown together to help create rhymes. They are intense.

"Lalena" is the Donovan tune. Purple's interpretation is stellar. Never has the tune sounded so good as it does on the remaster. Jon Lord's keyboards put you in the recording studio.

"Fault Line" is Blackmore's time to shine. Between the excellent choice of notes and the effect on the guitar, it is an adventurous ride.

"The Painter" musically has the listener thinking of an updated "Hush." The lyrics are deeper here and this one deserves to be repeated on the CD player.

"Why Didn't Rosemary" mixes some blues and fifties style rock and roll modernized for the Purple sounds of 69.

"Bird Has Flown" is an exploration to uncharted waters. It is one step closer to the longer improvisational sounds Purple would achieve next year. At almost twelve minutes make sure to hold on for the ride."

"April" the ending and longest track on the album is haunting, brilliant, and Blackmore has passages that are mesmerizing. If his playing peaked here he would still be in the higher echelon of musicians. Each time we thought Ritchie couldn't raise the bar he would shatter it.

Make sure the CD has the five bonus tracks including the single "Emmaretta."

Enjoy the music and be well,

Craig Fenton

Author of the Jefferson Airplane book "Take Me To A Circus Tent"