Half a century after the iconic vinyl was released In Rock (1970), Deep Purple released yesterday by Spotify, in digital format, Whoosh!, album with 13 tracks with which septuagenarians catch up in the studio taking advantage of the pause in the massive ones, of which they are affectionate and still a crowd magnet, as can be seen with the corresponding proliferation of videos to each play, be it in the arena of Verona, either in the metal festivals of the Mexican Autodromo.
Surprises with this freshly baked and ready to eat production? Little to say in that sense. Since the first albums without Ritchie Blackmore on guitar, first relieved by Joe Satriani (without actually recording an album) and later by Steve Morse, the power and magic of Deep Purple have been lost in tunes more nostalgic towards the blues than towards his own hard origin. Perhaps a group composition problem, because no one doubts the mastery of both minstrels.
Morse was not able to take command of the group and although his contribution in the interpretation of the classics is not flawless, imposing live, it is limited to guitar solos at mid-roll in all the original production of which he has been part, in the studio, without actually recording a single representative song that competes with any of the band’s anthems, such as “Smoke on the Water”, “Highway Star” or “Black Night”. Is “Sometimes I Feel Like Screaming” saved from Purpendicular (1996), a product with which Steve debuted 24 years ago.
The first four pieces of Whoosh! they do not come out of a known lethargy and “No Need to Shout” is perhaps the first song that refers to the Purple Mark II, with an association to the time of Perfect Strangers (1984). Four tracks later on, “The Power of the Moon” bursts in solidly, three later “Man Alive” (with a high school string solo) and almost on the way out “And the Adress”, a hard-cut piece, entirely musical, reminiscent of late 80s.
Deep Purple is back.
@acvilleda
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