15. Deep Purple: Bananas (2003): Because We Can

By 2003 Deep Purple may not have been the hottest ticket in heavy rock, and this gem of an album seems to have passed by largely unnoticed. I bought my own copy off a supermarket record shelf, shocked by the fact that I had missed the release even though I considered myself a fan of the band. Lucky me – because this is one of the most varied and in fact best records this great band ever made.

The first thing that comes to mind is the variation of styles and sounds – which still make for a distinct entity. From the steamrolling ”House Of Pain” to almost AOR:ish ballad ”Haunted”, the sprightly rolling ”Razzle Dazzle”, ”Silver Tongue” with its’ clever riff – and that’s just the beginning. Steve Morse is an accomplished guitarist with a great taste, Don Airey fills the greatest pair of boots in rock keyboards – those of Jon Lord – with assurance, and Roger Glover and Ian Paice may be the greatest rhythm anchor pairing in heavy rock, possibly topped only by messrs Lynott and Downey of Thin Lizzy. 

Actually, the Morse version of the band is at a level where they could choose to play almost anything, and it would sound good. Listen to the majestically flowing ”Walk On” for an example – or the slightly funky ”Picture Of Innocence”, the most typical Purple track of the album ”I Got Your Number” with the trademark guitar-keys interplay, or the quirky pop track ”Doing It Tonight”, and hear for yourselves.

The songs are good - did I mention that already? The arrangements are great, the playing second to none – but for me, the king of these tracks is Ian Gillan. Aged 57 at the time of recording, I believe, he does his thing with style and grace, not shying of a scream when it’s needed – and manages to come up with another set of lyrics way beyond the sex, booze and machoism stuff so often disgracing hard rock. 

I don’t know how many copies this album sold, and I’m guessing Deep Purple were quite in demand on the tour circuit – but ”Bananas”, as well as all subsequent Purple albums, speak to me of an artistic freedom, of making good music ”because we can”. Which is a good thing, because the four studio records they’ve put out in the 21st century are as entertaining a body of music as any in the rock business, while also proving that age most definitely is nothing but a number. Long may they run!

14. Deep Purple: Perfect Strangers (1984): The Return Of The Dinosaur

When this album came out, it felt like one of the most important musical events in my life up to that day. Having found the classic Purple on my own, then ommersed myself into Whitesnake and Rainbow, the actual comeback of my favourite band in its’ most revered lineup after a ten-year hiatus was like a dream come true. Such occurrences often end up in disappointment, of course – not so this time. I felt ”Perfect Strangers” actually summed up all that was good in hard rock – fine songs, well and distinctly arranged and executed, with a great singer on top.

In retrospect, much of the above seems funny. Between 1984 and today, almost everyone has made at least one comeback – even if most or all original members would be dead, as it feels – and many of those comebacks have been resounding flops. Ten years without a new record (actually nine, if you count from ”Come Taste The Band”, or eleven, if you go back to ”Who Do We Think We Are”) is not unusual even for working bands. And some aspects of ”Perfect Strangers” actually feel a bit dated – especially the sound, that is distinctly eighties in its’ ”tinniness” – but it’s still a great record from a great band.

Especially the B-side is classic stuff. I will never tire of the song sequence ”Perfect Strangers”-”A Gypsy´s Kiss”-”Wasted Sunsets”-”Hungry Daze” – The riff of the title track, which is a showcase for Jon Lord’s organ wizardry and Ritchie Blackmore’s love of classical music, and Gillan’s passionate vocals, make for one of their greatest hymns, then one of Purple’s most dynamic fast tracks, this too more Lordly driven, to their perhaps most beautiful ballad, where Gillan again shines against one of Blackmore’s greatest solos, and the closer which features another killer riff.

The A-side is good too, but somehow more workmanlike in its’ approach to hard rock. That doesn’t mean that it’s bad or even mediocre – ”Mean Streak” rolls along at a convincing speed, ”Knocking At Your Back Door” is majestic, and the other two tracks are at least decent as well. All through the album you can hear the one feature of Deep Purple, which to me sets them a few steps above most other heavier rock groups: Their ear for nuances and distinct arrangements – it’s loud but it’s varied.

In the 35 (!) years that have passed since their comeback, Purple have witnessed comebacks from almost everyone that ever split up in the first place, while carrying on themselves in one form or another. The recent lineup, fuelled by Steve Morse on guitar – who is my favourite among those that have graced the band, but that’s another story – and Don Airey as New Lord, have been working for nigh on twenty years now, and in fact made some of the best records in Purple history.