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  #31  
Old Apr-04-2015, 3:31 AM
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I'm pretty sure I will pass this one. Would have made a good bonus for next proper WS album. Then again I don't know what fun is...



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  #32  
Old Apr-11-2015, 5:06 AM
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Lay Down Stay Down is by far the worst track i've had the misfortune to hear so far.

His voice is absolutely terrible, never mind the the rest of the ruination of the song.

I'd rather go see a purple tribute band than watch this lot

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  #33  
Old Apr-23-2015, 1:49 PM
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Classic Rock review

Here's the review, which is spot on in my opinion.

a "travesty of an album.... "
Attached Thumbnails (click to enlarge)
ClassicRock210001.jpg  

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  #34  
Old Apr-23-2015, 2:53 PM
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'Spot On' says it all.....OUCH!!
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  #35  
Old Apr-26-2015, 2:39 AM
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Thanks for uploading the review, Wolfy. I still chuckle about it!

Here is what David has to say about the album in a recent interview with One on One. Move to 6:30...
You Tube

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  #36  
Old May-07-2015, 1:20 PM
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Whitesnake - Purple Album

I listened to this album a couple of times today.
The only track that stands out , somewhat, is HOLY MAN, which is a Glenn song
The rest...don't even bother
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  #37  
Old May-15-2015, 6:39 PM
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DC the other morning, calling into the San Francisco, CA., USA based, the "Lamont and Tonelli" radio show...
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  #38  
Old May-16-2015, 8:59 AM
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Giving the Purple Album two points out of ten, what Classic Rock did, is so absurd. You may like it or not but two points is ridiculous. Lot's of other magazines gave Whitesnake The Purple Album great reviews. Personally I prefer the originals but I also like the different, heavier guitar orientated new versions. The double bass drum monster Tommy Aldridge is great and the voice of David has become older, but he is still a great blues rock singer. Like Glenn, David is a hero for ever
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  #39  
Old May-20-2015, 12:14 PM
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the new Classic Rock July 2015 edition has a 2 page reply by DC in response to their article and general criticism of the album. He doesn't hold back in telling everyone who doesn't like it to F**K OFF!!

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  #40  
Old May-20-2015, 5:37 PM
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I have listened to the album a few times now, and I am trying to keep an open mind, but I have to admit that I cringed through most of the first listen or two…

To be fair, though, I have listened to the original material for over thirty years now so I have to recognize the bias I bring to the table when listening to this new album.

That said, while I will admit that parts of the album are growing on me, there are a few things I feel comfortable in criticizing straight off the bat.

THE DRUMMING:
In most instances Tommy Aldridge is a perfectly capable hard rock / heavy metal style drummer, but his work on this album does the material a real disservice in my opinion. Aldridge’s double-bass driven tub thumping falls far short of the snappier flash that Ian Paice brought to the original recordings and, as part of the foundation that all of these songs are built on, I think his work holds the material back with its heavy handedness. Many of the songs seem a bit rigid and less flexible as a result, and that’s truly unfortunate, as there’s no opportunity for Aldridge and bassist Michael Devin to work the same kind of rhythmic magic that Ian Paice and Glenn Hughes conjured up so wonderfully in Purple.

THE SOUND:
As with the last several releases from Whitesnake, The Purple Album is a brick-walled mess from a sound engineering standpoint. Everything is louder than everything else, and all the instruments are so densely stacked on top of one another that the organic space that should exist in these songs is simply not there. The soundstage for the songs seems small, and the levels a little too high; like a big band playing too loudly in a small room. The effect squeezes some of the life out of these tunes, and that’s truly a shame for, apart from the drumming on most of the album, some of the instrumental work offered up by guitarists Reb Beach and Joel Hoekstra is quite impressive if a bit excessive just the same.

THE KEYBOARDS:
Where are they?
A tribute to Deep Purple without the proper sonic acknowledgment to Jon Lord’s amazing Hammond and synthesizer work seems somehow to miss the mark. Oh, I know there’s a guest keyboard player, and some of the biggest of Lord’s solos on these songs are more or less represented here, but The Purple Album really is a guitar album more than anything else, and that’s a fact.

Where the album seems to work best is in its acoustic numbers. In general these songs enjoy a more natural, organic sound than the rocked up material as the instrumentation is sparser. Coverdale’s voice fares better on these songs as well, as they allow him to use the lower registers where his vocals still shine at their brightest. It’s not that he can’t handle the more aggressive material vocally, (he’s a seasoned veteran, and he knows exactly what he can and can’t do with his vocals at this point), but the higher-octane songs do take him to the very edge of his vocal limitations.

It’s ok that Coverdale’s voice isn’t what it used to be, but there’s a line that he cannot cross vocally, and the slightest stress on his voice these days brings out the rasp that both age and abuse has cultivated. To balance this, he has smartly included a cadre of musicians who are also good singers in Whitesnake these days, and a special nod has to go to Reb Beach for his contributions in the vocals department on this album; he’s no Glenn Hughes, but he ably fills the need the vocal harmonies in Coverdale/Hughes era Deep Purple songs call for.

In the end, I think that The Purple Album is something of a mixed bag, succeeding in some areas, and falling far short in others.

That said, I think it remains a brave and interesting choice on Coverdale’s part overall. It may not be the album that all of the band’s fans might have wanted, but then that really isn’t anything new for Whitesnake either; their fan base has been split into two camps for a long time now, with some yearning for a return to the old R&B, rocked-up boogie woogie days epitomized by the band’s earlier releases, with others preferring the “Sykes and Beyond” era of more cyclonic heavy metal-styled output instead.

This album is more of the latter and less of the former for sure, and the slick commercial metal approach taken to some of these songs doesn’t always work so well to my ears but, at the end of the day the album remains both well intentioned and technically well executed for the most part, so it is sure to have its fans.

For me the album’s high points are in the following songs:
“Sail Away” – an interesting acoustic take on the original. It’s different, for sure, but pretty and well done.

“Holy Man” – another really interesting version of a classic song. I had a hard time imaging Coverdale singing this Glenn Hughes solo piece from Stormbringer, but he found a way and it works, even if I still prefer the original.

“The Gypsy” – a fairly faithful cover of the original, and not what I would have considered an obvious choice for Coverdale to tackle given the harmonies it calls for. Kudos to Reb Beach, job well done!

“Mistreated” – Coverdale’s voice skates the edge on this one, but the guitar work on display is suitably appropriate and impressive without being overly excessive either.

“Might Just Take Your Life” – This would have been better with more Jon Lord-inspired organ work, but this bluesed-up reinterpretation is actually a lot of fun.


As for its low points:
“Burn” – how can such a great song sound so tired and boring - especially when WS plays it so well live?

“Stormbringer” – this version is pure drivel; a once proud song that has now been reduced to a bad heavy metal cover - enough said.

“Lady Luck” – far too slick for my tastes, completely missing the swagger of the original.

“Comin’ Home” - words fail me, a lifeless reinterpretation without any of the original’s drive or energy. Blech!

The rest of the songs on the album rise and fall somewhere in the middle in my opinion. Some are better than others, and only time will tell whether I warm up to them or not…

In the meantime, it will be interesting to see how this album does for Coverdale & Company. I don’t think it’s the album WS fans were demanding, but it might go over well with many of them just the same and, if it spurs any of the band’s younger fans to go on and check out the magic of the originals than that can only be a good thing in the end.
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  #41  
Old May-27-2015, 12:14 PM
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...selling like hotcakes apparently

Quote:
The Purple Album was released last week via Frontiers Music Srl and has stormed the charts around the globe.

In the USA, the latest release landed at #6 on the Top Current Hard Music Albums, #15 on Top Current Rock Albums, #43 on Top Current Albums and #83 on the Billboard Top 200 Charts. Around the globe, you can also find it at #18 in the United Kingdom, #9 in Finland, #17 in the Czech Republic, #11 in Switzerland, #34 in Norway, #18 in Sweden (#1 on the Hard Rock Charts in Sweden), #13 in Germany, #24 in the Netherlands and #8 in Japan.

"The Snakes & I are thrilled with the incredibly positive response to The Purple Album. Our sincere thanks to ALL for the amazing support we're receiving for the album & The Purple Tour!!" exclaims David Coverdale.

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  #42  
Old May-27-2015, 1:01 PM
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According to the charts DC made a wise discision to record the Purple album. I like it a lot and so do lot's of fans...
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  #43  
Old May-27-2015, 5:15 PM
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I have to admit; all in all the album is growing on me.

I'm still not thrilled by the drumming or the sound engineering but, on the whole, I am definitely warming up to the album and its re-interpreted material.

I still don't like "Comin' Home" or "Lady Luck", and neither "Burn" nor "Stormbringer" thrill me, but apart from those...
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  #44  
Old May-28-2015, 5:25 AM
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Whitesnake, like most bands who have been around for decades, are a brand. That means people will buy the album regardless of reviews or who the lineup is.

Also, there are stacks of WS fans who probably never heard tracks from those versions of DP. They no doubt know SOTW and a few MKII classics thanks to the current lineup still touring but obviously DP don't play these songs as its Ian Gillan's band.

It could certainly work in Glenn's favour as those who like these reworked tracks might seek out the originals and realise there's another singer on them who will blow them away with his own vast catalog of work. Plus the songwriting royalties of course!

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  #45  
Old May-29-2015, 8:34 AM
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I notice that DC featured 9 Purple tracks (out of 15 played) on the first date of his US tour. No 'Holy Man' though !!!
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  #46  
Old May-31-2015, 7:02 AM
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well, so reading a lots of reviews and critics about that new Whitesnake piece without hearing one note until NOW!!

First of all it seems this album will bring a lot of discussion around the Purple fanworld and Whitesnake fanworld too.
And that's good, and also it was a good and wise and a tough decision of Mr. Coverdale, cause it is a big shout into the Rockn'Roll galaxy.

Well, second point, i've been listening to the original mark3 and mark4 albums about 40 years and i love it the same as i was blown totally away first time listening.
Of course the sound burned in my brain and many songs haven't made it on life-events of the band and were never heard again on any concert.

I was so surprised that Glenn played "Sail Away" on a concert in 2010, and he did it terrific.
And i am NOT that kind of fan who says: Don't touch this song, you'll loose!
I also was surprised to hear Glenn sing "A Whiter shade of Pale" or "Nights in White Satin" on his Australia Life DVD, cause outstanding songs should be played life on stage, than the songs live on and on.

And now D.C. had put the outstanding songmaterial into real life again,
and this is good, good,good!!

First "Burn" i absolutly love, needless to say D.C. sang great, the crunchy sound and agressive drums are good. The guitarwork with the extra Solopart (Hommage to Rainbow) is breathtaking. I'm normally not a fan of much tapping, but this one i love!

"Stormbringer" on Audio and also Video DVD is a highlight for me.
This monstersong had reached a new scary and dramatic dimension, again the guitarwork is terrific, for me the best on the album. I hope they will do the storm-soundeffects also life on tour.

"Soldier of Fortune" i love absolutly, also the new interpretation of "Sail Away".

"Lady Double Dealer", "Might Just Take Your Life","Lay Down Stay Down",
"You Fool No One", "The Gipsy" are great and so much fun.

"Mistreated" is sung f...g beautiful again, but the guitar disappoints here.
The mark4 songs aren't bad but can't stay beside the originals.

"Holy Man" as a Glenn-song is a great surprise, love the singing and the guitarwork again.

All in all it is great stuff, much fun, lots of passion and a very lifesounding production
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  #47  
Old May-31-2015, 7:51 PM
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Purple snake

I share Marc's words. Aldridge's drums wallplastered a couple of songs, that I don't like. The oh-so-powerful original Comin' Home, now sounds like Guilty of Love (Slide it in) or Straight for the heart (1987). Ian Paice is sorely missed on this album. That being said, it's amazing that this album is available all across the world. Here in the US, the Purple album DLX version is IN EVERY RECORD STORE for like $14,-. Songs from Deep Purple MK III and IV that have been killer hits for me for decades have been obscure Purple album tracks for everybody else. UNTIL NOW...very strange. To old cov's credit, he's very humble in the liner notes and gives a nod to his old MK III and IV colleagues. WHITESNAKE is more of a marketing powerhouse than Blackmore, Purple and it must be said, glenn, combined in the US. I'd like to thank him for having released this CD. July 24th I'll see for myself if the music holds up in the Twin rivers Casino, Lincoln, Rhode Island
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  #48  
Old Jun-18-2015, 1:51 PM
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French radiometal.com has conducted two in-depth interviews with David and Glenn.

The interview with DC is available in English:

www.radiometal.com/en/article/when-the-white-snake-puts-on-its-purple-coat,179545

whereas the interview with Glenn is so far only available in French

www.radiometal.com/article/glenn-hughes-en-quete-de-bonheur,181415

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