CD 1:
1. Orchestral Intro
2. Highway Star
3. Hard Lovin' Man
4. Maybe I'm A Leo
5. Strange Kind Of Woman
6. Rapture Of The Deep
7. Woman From Tokyo
8. Contact Lost
9. When A Blindman Cries
10. The Well Dressed Guitar

CD 2:
1. Knocking On Your Back Door
2. Lazy
3. No One Game
4. Key Solo
5. Perfect Strangers
6. Space Truckin'
7. Smoke On The Water
8. Hush
9. Black Night

Line-up: 
Ian Gillan (vocals); 
Ian Paice (drums); 
Roger Glover (bass); 
Steve Morse (guitar); 
Don Airey (keyboards)

The grandeur inherent in Deep Purple's brand of heavy metal fully flowered on stage at the 2011 Montreux Festival. Backed by a symphony orchestra, they closed out the fest with these glorious performances of Highway Star; Maybe I'm a Leo; Woman from Tokyo; Lazy; Perfect Strangers; Space Truckin'; Smoke on the Water; Hush; Black Night , and more. Nearly two hours; DVD and Blu-Ray include a bonus band interview! ---Editorial Reviews

This is an excellent concert! The song selection is really good and the audio quality is strong and clear. The video quality is very crisp and clear, A great Blu-Ray disc.. I have purchased many Deep Purple video's and this is one of their better concerts. The band look like they are having a good time and playing greatly together, the orchestra seems to enjoy what they are doing also. The interview segments are a nice addition to the concert. Highly recommended to fans of Deep Purple. --- Music Lover, amazon.com

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CD 1: Original album remastered 

01. Comin' Home [0:03:54.40] 
02. Lady Luck [0:02:48.72] 
03. Gettin' Tighter [0:03:36.54] 
04. Dealer [0:03:53.28] 
05. I Need Love [0:04:24.20] 
06. Drifter [0:04:05.24] 
07. Love Child [0:03:07.00]           play
08. This Time Around/Owed To 'G' [0:06:13.04] 
09. You Keep On Moving [0:05:22.09] 
10. You Keep On Moving (Single edit, Bonus track) [0:04:32.61] 

CD 2: 2010 original album remixes 

01. Comin' Home [0:04:08.13] 
02. Lady Luck [0:02:46.00]            play
03. Gettin' Tighter [0:04:23.52] 
04. Dealer [0:03:55.17] 
05. I Need Love [0:05:16.43] 
06. You Keep On Moving [0:05:18.16] 
07. Love Child [0:03:05.30] 
08. This Time Around [0:03:24.04] 
09. Owed To 'G' [0:02:56.51] 
10. Drifter [0:03:59.69] 
11. Same In LA (Previously Unreleased, Bonus track) [0:03:19.00] 
12. Bolin/Paice Jam (Previously Unreleased, Bonus track) [0:05:47.57]

Personnel
David Coverdale - lead vocals
Tommy Bolin - guitars, vocals
Glenn Hughes - bass, vocals 
Jon Lord: keyboards, piano, synthesizer
Ian Paice - drums, percussion

Come their tenth studio album Deep Purple were sounding tired. After seven years and four line-ups, their collective creative energy was just about spent. Nothing that a couple of months in the sun couldn’t have cured, perhaps, but that’s not how the rock machine rolls. When you hit paydirt – as Purple had, and then some – you just keep pushing whatever the cost. As it turned out, Come Taste the Band would be the last Deep Purple album for almost a decade.

It certainly wasn’t meant to be that way. Originally released in 1975, Come Taste the Band heralded the arrival of new guitarist Tommy Bolin. The former James Gang man had been drafted in to replace founding axeman Ritchie Blackmore, who’d finally quit in protest at the increasingly funky, soulful style Purple had been adopting since vocalist David Coverdale and bassist/vocalist Glenn Hughes had replaced Ian Gillan and Roger Glover two years earlier. Bolin’s role was to rejuvenate the band but the results saw them drift further into commercial waters and ever farther from the trademark Purple sound.

Although both the band’s previous two albums, Burn and Stormbringer (both released in 1974), had introduced the aforementioned funk and soul courtesy of Coverdale and Hughes, Blackmore’s continued presence ensured that a certain amount of hard rock meat remained on Purple’s increasingly bare bones. With Blackmore gone, the band completed their transformation into an entirely different beast. Consequently, denim-clad devotees of hard-hitting Purple albums such as In Rock and Machine Head would find little to like.

Offering the likes of driving opener Comin' Home, raunchy blues rockers like I Need Love, excellent vocals from both Coverdale and Hughes and some stellar fretwork from Bolin, Come Taste the Band is far from a disaster, particularly on its own terms. The jazzy interludes and funky breaks which Blackmore had condemned as "shoeshine music" make for breezy easy listening. There’s even a whiff of the sex which Coverdale later made a virtual art form with Whitesnake. As a Deep Purple album, however, it’s underpowered and way too relaxed for its own good. A harmless little sparkler where once there was a ton of TNT. --- Greg Moffitt, BBC Review

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Disc 1 

1.Intro 
2.Highway Star 
3.Things i never said 
4.Into the fire 
5.Strange Kind of woman 
6.Rapture of the deep 
7.Mary Long 
8.Contact Lost 
9.Sometimes i feel like screaming 
10.The Well Dressed Guitar/Steve Morse Solo 
11.Wring That Neck 
12.The Battle Rages on 

Disc 2 
1.Don Airey Solo 
2.Perfect Strangers w/ Jon Lord 
3.Space Truckin' 
4.Steve & Yngwie Guitar Solo 
5.Smoke on the water w/ Jon Lord & Yngwie Malmsteen 
6.Hush incl. Drum Solo 
7.Black Night 
8.Outro 
9.Woman from Tokyo 

Personnel: 
    Ian Paice – drums, percussion 
    Ian Gillan – lead vocals, harmonica, congas 
    Roger Glover – bass 
    Steve Morse – guitar 
    Don Airey – keyboards, organ 

Guest Musicians: 
Yngwie Malmsteen  and Jon Lord .

Recorded Live at International Forum, Tokyo, Japan - April 15, 2009.

Last night, on April 15, Jon Lord joined Deep Purple onstage at the International Forum in Tokyo. He played two songs with the band – Perfect Strangers and Smoke On The Water – the last song also featured Yngwie Malmsteen.

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01. Intro
02. Highway Star
03. Things I Never Said
04. Strange Kind Of Woman
05. Wasted Sunsets
06. Rapture Of The Deep
07. Fireball
08. Contact Lost
09. Sometimes I Feel Like Screaming
10. The Well Dressed Guitar
11. Wrong Man
12. Lazy
13. No One Came
14. Don Airey Keyboard Solo
15. The Battle Rages On
16. Space Truckin'
17. Smoke On The Water
18. Intro
19. Hush
20. Roger Glover Bass Solo
21. Black Night


Personnel: 
    Ian Paice – drums, percussion 
    Ian Gillan – lead vocals, harmonica, congas 
    Roger Glover – bass 
    Steve Morse – guitar 
    Don Airey – keyboards, organ 

Recorded Live at Sydney Entertainment Centre, Australia 28.04.2010

The Rapture of the Deep Tour is an ongoing worldwide concert tour by British hard rock band Deep Purple. It takes place in support of their 2005 studio album Rapture of the Deep. It is supposed to be one of the most successful and long-lasting tour the band has ever done. In 2007 it was voted #6 tour of the year by listeners of the Planet Rock radio station.

During the tour Deep Purple covered 5 continents and played in more than 50 countries. They did over 28 legs in Europe, UK, North America, South America, Asia, Africa and Australia, playing almost 500 shows in 6 years. Venue sizes varied from big concert halls, to the world's largest arenas and stadiums.

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1. Any fule know that 
2. Almost human 
3. Don't make me happy 
4. Seventh heaven 
5. Watching the sky 
6. Fingers to the bone 
7. Jack Ruby 
8. She was 
9. Whatsername 
10. '69 
11. Evil Louie 
12. Bludsucker

Personnel
    Ian Gillan – vocals
    Steve Morse – guitar
    Roger Glover – bass
    Jon Lord – organ, keyboards
    Ian Paice – drums

Guitarist Steve Morse had one album and several tours under his belt when Deep Purple returned to the recording studio during late 1997 and early 1998. He had integrated smoothly with vocalist Ian Gillan, keyboardist Jon Lord, bassist Roger Glover, and drummer Ian Paice to form one of the better incarnations in Deep Purple history. His straight ahead rock guitar virtuosity had helped the band modernize their sound, which was critical to their lasting popularity.

Abandon (1998) is an above average, if not outstanding, hard rock album. It is a complete band effort that produced a cohesive work. While there may be no truly classic songs, there are a number of good ones. I have found the overall album to be much better than the sum of its parts, as the songs move smoothly from one to the other to form a unit. In the final analysis the album makes sense plus it rocked all the way through.

The sound now centered around Morse’s guitar. While Lord would step forward at times, most of the time he would fill in the gaps. Gillan continued his transition from upper register screamer to a more restrained style and vocal range. Glover’s pulsating bass and Paice’s thundering drums continued to provide the underpinning for their sound.

The first two tracks set the tone for what follows. ”Any Fule Kno That” is a unique rocker with a spoken word approach by Gillan. The title is slang for a swindle and is taken from a Nigel Molesworth book. It was followed by “Almost Human,” which is a slower tempo tune where Morse steps forward for a brilliant guitar solo.

The songs meander along as the tempos change but seemed to fit seamlessly together. “Don’t Make Me Happy” has a smooth bluesy feel. “Jack Ruby” is the track where Gillan proves he can still hit the high notes once in a while, at least in the studio, and is a song where Jon Lord’s keyboard work is more prominent. “She Was” is a tip of the hat to the Deep Purple of old as the guitar and keyboard intertwinein a creative and improvisational way.

The two heaviest tracks are the bone crunching “Seventh Heaven” and “Bludsucker,” which is a re-imagining of “Bloodsucker” from their In Rock album.

Abandon is the last Deep Purple album of the 20th century, and it finds the band moving bravely into the future. It continues and in some ways enhances their reputation as one of the better modern day hard rock bands. --- blogcritics.org

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Disc 1
01. Intro
02. Highway Star
03. Strange Kind Of Woman
04. The Unwritten Law (Incl. Drum Solo)
05. Blues
06. Dead Of Alive
07. Perfect Strangres
08. Hard Lovin' Woman
09. Child In Time

Disc 2
01. Difficult To Cure
02. Jon Lord Keyboard Solo
03. Knockin' At Your Back Door
04. Lazy
05. Space Truckin'
06. Black Night
07. Smoke On The Water

Personnel: Gillan :: Blackmore :: Glover :: Lord :: Paice .

Recorded Live at Sporthalle, Cologne, Germany - September 25, 1988.

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01 - House of Pain [Gillan, Michael Bradford] 
02 - Sun Goes Down 
03 - Haunted 
04 - Razzle Dazzle 
05 - Silver Tongue 
06 - Walk On [Gillan, Bradford] 
07 - Picture of Innocence [Gillan, Morse, Glover, Jon Lord, Paice] 
08 - I Got Your Number [Gillan, Morse, Glover, Lord, Paice, Bradford] 
09 - Never a Word 
10 - Bananas 
11 - Doing it Tonight 
12 - Contact Lost [Morse]

Bass Guitar – Roger Glover
Drums – Ian Paice
Guitar – Steve Morse
Keyboards – Don Airey 

Bananas has every sign of being a disappointment. Jon Lord's grandiose keyboards were always a focus but he's gone, it's released in the heady age of Radiohead, and it's got one of the oddest titles and the oddest cover art that ever graced a Deep Purple album. Surprise, it's fantastic. New keyboardist Don Airey is an effective replacement, adding new sounds and styles and working the Hammond so well that an uncredited Lord appearance was rumored among fans. Lord has said he's not playing on the album, but he did contribute some writing on the excellent "Picture of Innocence" and "I Got Your Number." Those two tracks, followed by the winding and pastoral "Never a Word," add up to a strikingly impressive suite that bridges the more bombastic first half of the album with the looser and more playful second half. That's right, "Deep Purple" and "playful" in the same sentence. The thunk and chug is still there, but Bananas often turns to mid-tempo boogie and blues, allowing Ian Gillan's wry and witty delivery some deserved space while guitarist Steve Morse's time in Kansas and the Dixie Dregs pays off as never before. The funky light reggae of "Doing It Tonight" is downright smoky-bar slinky-sexy, and if the band doesn't add it to every one of their encores for the rest of their career they're nuts. Filled with hooks and songs that get better with each listen, there's little to dislike about Bananas. Certainly the urgent "House of Pain" could have benefited from punchier production, and there's a noticeable lack of lengthy solos throughout, but these are minor quibbles. Hipsters have already decided, and some hardcore fans will pine for the monolithic sound of Machine Head, but on Bananas Deep Purple sound comfortable, free to do what they want, and more than the sum of their parts than they have in a long, long time. ---David Jeffries, AllMusic Review

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1 	Burn 	6:01
2 	Might Just Take Your Life 	4:37
3 	Lay Down, Stay Down 	4:17
4 	Sail Away 	5:49
5 	You Fool No One 	4:46
6 	What's Going On Here 	4:56
7 	Mistreated 	7:27
8 	"A" 200 	4:05
+
9 	Coronarias Redig (2004 Remix) 	5:30
10 	Burn (2004 Remix) 	6:00
11 	Mistreated (2004 Remix) 	7:28
12 	You Fool No One (2004 Remix) 	4:57
13 	Sail Away (2004 Remix) 	5:37

Personnel:
- David Coverdale - lead vocals
- Ritchie Blackmore - lead guitar
- Glenn Hughes - bass, vocals
- Jon Lord - keyboards
- Ian Paice – drums

Although it shook the band's fan base to its core, the acrimonious departure of vocalist Ian Gillan and bassist Roger Glover served to rejuvenate Deep Purple in time for 1973's aptly named Burn album, which unquestionably showed huge improvement over their lackluster previous effort, Who Do We Think We Are. And in an interesting twist rarely attempted before or since, new recruits David Coverdale (vocals) and Glenn Hughes (bass and vocals, ex-Trapeze) traded lead singing duties on virtually every one of its songs -- an enviable tag team, as both possessed exceptional pipes. The phenomenal title track started things off at full throttle, actually challenging the seminal "Highway Star" for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice. Up next, the intro to the equally timeless "Might Just Take Your Life," however simple from a technical perspective, remains one of organist Jon Lord's signature moments; and the downright nasty "Lay Down, Stay Down" roared behind wildly careening starts and stops and a fantastic Ritchie Blackmore guitar solo which left no doubt as to who was the band's primal force, regardless of lineup. Moving right along, though it was rarely included in later-day greatest hits sets, "What's Going on Here" was about as good a single as Purple ever wrote; "You Fool No One" was compelling for its sheer intensity; and the funky "Sail Away" was a sign of the band's direction in years to come. Lastly, the fantastic slow-boiling blues of "Mistreated" closed the album proper (let's ignore the record's only throw-away track -- boring final instrumental "A 200") with a command solo performance from Coverdale, as nuanced and sensitive as it was devastating. So impassioned was the singer's delivery, in fact, that the song would remain his personal, in-concert trademark with Whitesnake, long after his tenure with Deep Purple came to a close. Like the vast majority of Burn this song's greatness qualifies it for the highest echelons of hard rock achievement, and therefore ranks as an essential item in the discography of any self-respecting music fan. ---Eduardo Rivadavia, AllMusic Review

Burn jest debiutem trzeciego składu Deep Purple; Gillana i Glovera zastąpili David Coverdale i Glenn Hughes. Ten pierwszy miał do zaoferowania potężny głos z charakterystycznym „uduchowieniem” w co bardziej balladowych momentach, Hughes z kolei objął etat śpiewającego basisty – utwory komponowano zatem w taki sposób, aby obaj mogli wykazać się swymi wokalnymi umiejętnościami. Zabieg ten nie sprawdzał się najlepiej i wprowadzał dość niezdrową rywalizację. Dlatego też na dwóch następnych albumach muzycy zaczęli coraz częściej od tego pomysłu odchodzić.

Od pierwszych dźwięków Burn zwraca uwagę niemal garażowe brzmienie, ale ta chropowatość ma tu pewien urok. Numer tytułowy, oparty na świetnym – zaczerpniętym z jazzowego standardu Fascinating Rhythm – riffie gitary to brawurowa jazda ze wzorowymi solówkami Lorda i Blackmore’a; dodatkowe punkty dla Paice’a za niesamowicie pokręconą partię perkusji (zauważyliście, że Purple mieli nadzwyczaj dobrą rękę do „ogniowych” numerów?). Potem trochę zwalniają: w Sail Away najbardziej podoba mi się leniwy śpiew Coverdale’a. Specyficzna barwa głosu Hughesa najlepiej sprawdza się w udanym You Fool No One, podczas gdy w Mistreated Coverdale zostaje na placu boju sam. I wykonaniem tego utworu zapewnia sobie miejsce w gronie największych wokalistów rocka. Ta dryfująca nieco w stronę bluesa kompozycja przynosi monotonny riff gitary i dołujący tekst, który Coverdale interpretuje z tym swoim niepowtarzalnym „lamentem”. Rewelacja.

Gdy po Mistreated spodziewamy się ekscytującego finału, następuje maleńki zgrzyt. Pseudo bolero „A” 200 jest jakby nie do końca dopracowanym utworem instrumentalnym, który zaciekawić może jedynie tym, że Lord użył tu syntezatora... Ale nie ma co się czepiać – po tak radykalnych zmianach składu Purple nie przestali być zespołem z klasą. ---Paweł Brzykcy, terazrock.pl

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CD1 (performed by Deep Purple)
1. Intro
2. Hush  4:42 
3. Wring That Neck  13:23
4. Child in Time 12:06

CD2 (performed by Deep Purple with the Royal Philharmonic Orchestra)
Concerto for Group and Orchestra
1.   "First Movement: Moderato-Allegro" (19:23)
2.    "Second Movement: Andante" (19:11)
3.    "Third Movement: Vivace-Presto" (13:09)
4.    Encore - Third Movement - Vivace - Presto (Part)


Personnel:
- Jon Lord - keyboards
- Ritchie Blackmore - guitar
- Ian Paice - drums
- Roger Glover - bass
- Ian Gillan - vocals
- The Royal Philharmonic Orchestra conducted by Malcolm Arnold

The Concerto for Group and Orchestra is a concerto composed by Jon Lord, with lyrics written by Ian Gillan. It was first performed by Deep Purple and The Royal Philharmonic Orchestra conducted by Malcolm Arnold on 24 September 1969 and released on vinyl in December 1969. The release was the first Deep Purple album to feature Ian Gillan on vocals and Roger Glover on bass. After the score was lost in 1970, it was performed again in 1999 with a recreated score. The 1969 performance was the first ever combination of rock music and a complete orchestra

The piece was first performed and recorded on 24 September 1969 in the Royal Albert Hall, London, by:

    Deep Purple
        Jon Lord: keyboards
        Ritchie Blackmore: guitar
        Ian Gillan: vocals
        Roger Glover: bass
        Ian Paice: drums
    The Royal Philharmonic Orchestra, conducted by Malcolm Arnold

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1.Chasing Shadows 	5:29 	
2.Blind 	5:20 	
3.Lalena 	3:00 	
4.(a) Fault Line - (b) The Painter 	5:32 	
5.Why Didn't Rosemary? 	4:56 	
6.Bird Has Flown 	5:29 	
7.April 	12:10 	

Musicians:
   * Ritchie Blackmore - guitar
   * Rod Evans - lead vocals
   * Nick Simper - bass, backing vocals
   * Jon Lord - organ, keyboards, backing vocals
   * Ian Paice – drums

Album recorded January to March 1969 at De Lane Lea Studios, London.

This is a record that even those who aren't Deep Purple fans can listen to two or three times in one sitting -- but then, this wasn't much like any other album that the group ever issued. Actually, Deep Purple was highly prized for many years by fans of progressive rock, and for good reason. The group was going through a transition -- original lead singer Rod Evans and bassist Nick Simper would be voted out of the lineup soon after the album was finished (although they weren't told about it until three months later), organist Jon Lord and guitarist Ritchie Blackmore having perceived limitations in their work in terms of where each wanted to take the band. And between Lord's ever-greater ambitions toward fusing classical and rock and Blackmore's ever-bolder guitar attack, both of which began to coalesce with the session for Deep Purple in early 1969, the group managed to create an LP that combined heavy metal's early, raw excitement, intensity, and boldness with progressive rock's complexity and intellectual scope, and virtuosity on both levels. On "The Painter," "Why Didn't Rosemary?," and, especially, "Bird Has Flown," they strike a spellbinding balance between all of those elements, and Evans' work on the latter is one of the landmark vocal performances in progressive rock. "April," a three-part suite with orchestral accompaniment, is overall a match for such similar efforts by the Nice as the "Five Bridges Suite," and gets extra points for crediting its audience with the patience for a relatively long, moody developmental section and for including a serious orchestral interlude that does more than feature a pretty tune, exploiting the timbre of various instruments as well as the characteristics of the full ensemble. Additionally, the band turns in a very successful stripped-down, hard rock version of Donovan's "Lalena," with an organ break that shows Lord's debt to modern jazz as well as classical training. In all, amid all of those elements -- the orchestral accompaniment, harpsichord embellishments, and backward organ and drum tracks -- Deep Purple holds together astonishingly well as a great body of music. This is one of the most bracing progressive rock albums ever, and a successful vision of a musical path that the group might have taken but didn't. Ironically, the group's American label, Tetragrammaton Records, which was rapidly approaching bankruptcy, released this album a lot sooner than EMI did in England, but ran into trouble over the use of the Hieronymus Bosch painting "The Garden of Earthly Delights" on the cover; although it has been on display at the Vatican, the work was wrongly perceived as containing profane images and never stocked as widely in stores as it might've been. ---Bruce Eder, AllMusic Review

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