Tenology: Dynamic Drummers In Rock/Metal

Just under two months ago, I wrote a blog post about ten excellent guitarists in the world of Rock and Metal with the promise of writing similar blog posts about skilled musicians with different instrumental talents. Whilst my initial choice was to write about bassists, I've instead decided to focus on drums as it can be argued that they are the most important instrument in any self-respecting Rock band.
As usual, Tenology posts are the work of opinion and whilst I'll be listing 10 drummers whom I admire, this isn't the same as a Top 10 post. There's no particular rank or hierarchy of skill here, I'm just listing 10 awesome drummers and why I think they kick ass.


1. Nicko McBrain

I couldn't find a good pic of him drumming with Sooty on the front of his kit

Did you guys know I like Iron Maiden? Yeah? Cool, just checking so you're not irritated when I get round to the bassist and vocalist blog posts. Anyway, Nicko McBrain is the band's current drummer and has been with them since Clive Burr had to drop out in the early 80s due to health issues. Whilst Clive was great and will be missed, Nicko was a worthy replacement and has kept the band's Metal strong since 1983 with his epic kit and great personality. However, he's not on this list just because he's got a percussion cage and a funny way with words; he's a hugely talented drummer who's able to play all of the band's material without the use of double bass pedals. Speaking of double bass...


2. Scott Travis

For some reason, I always thought this guy was bald

From no double bass to ultimate double bass, Scott Travis is (in my eyes) single-handedly responsible for making Judas Priest awesome again. Around the late 80s, the band were running out of steam and even resorting to Hair Metal singles. However, in 1990, the band released Painkiller with Scott on drums and gave the band the shock to the balls they needed to become proper Metal again. From the drum intro/outro of "Painkiller" to the live recordings of from the British Steel anniversary gigs, Scott's drumming is as furious as the Metal monsters Judas Priest writes about in most of their albums.


3. Tommy Lee

I always thought this was just the Drum Rollercoaster but apparently it's called the Cruecifly

Motley Crue might not be known for technical or complex rhythms but there's something Tommy Lee does in live shows that only a talented drummer would be able to pull off. His drumkit is attached to a mechanical harness that lifts it up over the audience and rotates it around with him still strapped down, drumming along to a variety of tunes as if he was still on the ground. When I saw Motley Crue on their farewell tour, Tommy was able to pull this off and continue drumming for the rest of the gig without any audible signs of fatigue so if you've got a problem with him in this list, go see him do this live...oh wait, you can't anymore. Well, in that case, you'll have to take my word for it.


4. Keith Moon

When the film about Keith is made, tell Sacha Baron Cohen he's got the part

I'm trying to mix iconic drummers with less obvious choices but if you're going to write about great drummers, Keith Moon better be there. He was a fucking beast behind the drums and you only have to listen to "Young Man Blues" from the Live At Leeds album to hear him going absolutely apeshit without the percussion sounding messy or amateurish. On the studio side, tracks like "Won't Get Fooled Again" are well known for great drum fills as well as the riffs and screams. I won't get into the party lifestyle this guy led but one story that stuck in my mind is the tale of how Keith put dynamite in his drums to set off at the end of the show, nearly killed/deafening his bandmates.


5. Dave Grohl

One of these pictures is not like the other

Dave Grohl is mostly known for Foo Fighters now but he isn't actually the drummer for that band. Dave's an OK vocalist and a decent guitarist but his skills as a drummer dwarf both of those combined. Dave's drummed for many bands (notably Nirvana) but I think my personal favourite example of his work comes from Tenacious D. He laid down the percussion for their studio albums and occasionally played with them live, bringing the thunder in typical Dave Grohl style. He knows how to crank up the power and just when you think he's blown his load, he pulls out another burst of energy from fuck knows where. It's just a shame he insists on being the frontman for the Foo Fighters, as he's definitely strongest at the back.


6. Rick Allen

No, this isn't photoshopped

Def Leppard's drummer only has one arm. That's all I really need to say to explain his inclusion here. Any drummer who can play well enough for their band to keep up with other great Rock acts despite having such a significant handicap gets a shout out on my list. Hell, the fact that he can play along to classic Def Leppard material and put some drummers with two hands to shame (fuck you, Meg White) means he deserves a place here. Granted that the band simplified their music to power ballads and slow tempo stadium anthems after his accident but songs like "Rocket" prove the band could still rock out...no pun intended.


7. Clive Bunker

Amazing how he managed to keep drumming with that dumb copyright mark floating in front of him!

Something about the name Clive that produces great drummers, huh. Anyway, Clive was the drummer for Jethro Tull for a few years, laying down percussion for the Aqualung album and a couple before it too. He's on this list because I revisited several tracks from Aqualung recently and found myself thinking about how great the drumming was, particularly on the title track. The tempo changes and small little fills throughout show that this guy knew how to drum with the best of 'em, plus I defy you to listen to the double-time section and guitar solo without tapping your feet. Need more proof? How about the fucking outro where he breaks into mini drum solos that are neither self-indulgent or painfully long? Clive might not top anyone's list but he was a vital component in making Jethro Tull's music great.


8. Joey Jordison

I'm not a huge Slipknot fan but damn, this guy's good

My girlfriend once had the pleasure of seeing Metallica live and on that fateful gig, Lars Ulrich was unable to drum so Joey Jordison filled in. According to her, he was able to play all of Metallica's material without any issues much better than Lars ever could. I'm aware that this is supposed to be my list but can you honestly tell me Joey doesn't deserve a spot here? His drumming's tighter than a roadie's grip and similar to Tommy Lee, Joey had a special trick for Slipknot gigs where he and his kit would be turned upside down whilst he kept drumming. If any member of Slipknot was responsible for getting me into the band, it'd probably be Joey (although Corey Taylor would be a close second).


9. Ian Paice

I'm ashamed to say I nearly forgot about this guy

If you're after great Hard Rock drummers who can still keep it up after almost half a century, look no further than Deep Purple's drummer, Ian Paice. The man has laid down percussion for such great Rock anthems as "Smoke On The Water", "Highway Star" and "Black Night" whilst also showing off his technical talents in songs such as "Fireball", "Speed King" and, my all-time favourite song, "Burn". Unlike some of the drummers on this list, Paice is capable of performing at a variety of different settings instead of going all-in balls out for every track and when I saw him live a few years ago, he earned his place on the list...well, he probably earned it decades before that during the Deep Purple Mk II sessions but you know what I mean!


10. Neil Peart

Predictable final choice? Yes. Awesome drummer? Fuck yes!

You can't have a list of great drummers without AT LEAST MENTIONING Neil Peart or Rush. Sporting a 360 degree kit and a powerful arsenal of percussive tools, Neil is regarded as one of the best (if not THE best) drummer in Rock boasting not just physical skill but also creative songwriting talents (although I acknowledge he's not the only one on this list you can say that about). Moving Pictures might not be my favourite Rush album but if I had to pick a collection of excellent songs for drummers, that'd be the first place I'd look. I mean, "Tom Sawyer", "Red Barchetta", freaking "YYZ", and that's only one album! His Prog Rock timekeeping and utilisation of practically anything inanimate that makes a specific noise when you hit it have helped put Rush on the map, although the other two band members aren't slouches either.


Before I finish this post, I feel I should list a couple of honourable mentions as I doubt I'll be writing another blog post on great drummers. The guys I've talked about up above earned their place for resonating with me personally a little bit more than these guys, although if I had to expand my list to include more than 10, these are the drummers who'd be next on the post:
Mike Portnoy
John Bonham
Mitch Mitchell
Chad Smith
Ringo Starr (what? I like him, screw you!)

However, just because I didn't include other Rock/Metal drummers doesn't mean I don't think they're awesome. It just means they didn't leap into my thoughts straight away when I asked myself "who's fucking great at drumming?". Who would you include in your list? Let me know in the comments or via Twitter.
Next time...I dunno, maybe an album review or Rapid Fire post.

inFinite - Deep Purple

Hopefully you all got the April Fool's gag last week and didn't actually think I enjoyed the setlist to Guitar Hero Live in any way, shape or form. Here's a straight review of the new Deep Purple album to balance things out.

It's strange to see websites still list Deep Purple as Hard Rock as this album makes it perfectly clear that the band have fully transitioned into the Prog Rock genre. At the very least, they're Hard Prog but Prog nonetheless. It makes sense for the band to make this shift as they're all getting on a bit now and having lost two of their strongest assets to death and Folk (although Blackmore's revisiting Rainbow material now), there's no way they could possibly hope to recreate the iconic Hard Rock anthems they seemed to casually pump out in the early 70s.
Instead, they've opted to combine the Blues elements of Hard Rock with the instrumental aspects of Prog, creating an incredible sound utilised in such a poor way. If there was a list of everything that could be described as the "absolute worst", I reckon Mediocre Prog would fall somewhere between waiting in a queue caused by a fuckwit at the checkout and having dental surgery. Sadly, quite a few songs on inFinite are in that camp, even if each member of the band (except one) is going strong. Fortunately, the album opener isn't one of those.
"Time For Bedlam" may have a punchy rhythm and reminds us that the band haven't lost it but Don Airey's use of organ sounds more like Uriah Heep than Deep Purple. This isn't necessarily a bad thing but it does signify a slight step down in quality at the earliest juncture, even if the song is great. Don Airey and Steve Morse on keys and guitar are one of the album's greatest attributes, followed by Roger Glover's bass and Ian Paice's restrained but densely packed, well orchestrated drumming. That just leaves Ian Gillan on vocals and this is where the album runs into a sizable wall.

Gillan's vocals used to be incredible when he had some passion in his pipes. However, since DP have moved on from being the loudest band in the world, Gillan's vocals needed to make the successful transition too. Instead, they just sound flat and bored, dampening the majority of songs on this album. The only track where Gillan's vocals seemed to work was "The Surprising", which benefited from a different sound to the lion's share of the tracks and a more typically progressive structure like you'd hear in a modern Iron Maiden song. It's a good track if you can ignore the fact that the guitar sounds a little too close to "Highway Song" - Blackfoot for comfort.
There are other songs that attempt to stand apart from the Hard Prog filler such as "Johnny's Band", a track built around a strong riff with more subtle keyboard sections, and album closer "Roadhouse Blues", a cover of the song by The Doors. It's an upbeat end to the album but it comes across as self indulgent when it follows "Birds Of Prey", the band's attempt at an epic Prog finale. Also, it doesn't help that Gillan's voice is especially terrible when compared to Jim Morrison's, even though it was probably Gillan who championed the inclusion of this cover on the album.
Crappy vocals aside, the band are in their element and whilst Ian Paice doesn't sound like he's breaking a sweat on any of these songs, you can tell he's still trying to create great drum rhythms ("On Top Of The World"). It's the fills and rudiments throughout the songs that speak louder than the generic 4/4 beats. Roger Glover's bass sometimes blends in with Don Airey's organ a little too well but if you listen for it, you can hear it thudding away ("All I Got Is You"). Steve Morse gets a few moments in the spotlight where he can impersonate Richie Blackmore ("Get Me Out Of Here") but when him and Don Airey are double teaming together, it sounds phenomenal.

There's one message being broadcast underneath the layers of each track on inFinite; the band still have life in them but Ian Gillan doesn't. What Deep Purple need is a Ronnie James Dio figure to push the band members into challenging themselves with faster rhythms, more complex solos and more progressive finales. It's almost as if the band wanted the best of both Hard Rock and Prog Rock, which can work if each member of the band is able to commit to it. Unfortunately, I don't see any member of DP agreeing to boot Gillan out now so this is it.
I rate the album 6/10 for being musically solid but devoid of any fire or ambition. It pains me to hear such a once-incredible vocalist moaning his way through the album like he couldn't give a fuck, especially when the other band members (new and original) are earning their crust. Normally I'd say "perhaps they're better live" but having seen them live, I can confirm that we're not missing out on anything. What you hear on inFinite is what they've got. Their days of creating the next "Smoke On The Water" have been over for decades but that didn't stop them from giving us "Mad Dog" or "The Cut Runs Deep".

Rapid Fire: Blue Oyster Cult, Rush, Deep Purple

Bit late posting this one but I'll definitely make sure I get another one up this week.
Last time I did a Rapid Fire post, I picked three big albums from the 90s all belonging to different popular genres of the decade. THIS time, I've picked three albums not only from the same decade but also belonging to the same genre; Hard Rock.
Whilst all three albums aren't necessarily iconic hits from the 70s, I chose these three because (in my opinion) they stand out in the band's careers. I could've picked various classic Hard Rock albums from this decade but I don't think I'd have as much to write about them. Anyway, I'll leave you to decide whether I picked the right albums!

1. Tyranny And Mutation - Blue Oyster Cult

If asked to name a Blue Oyster Cult song, most people will go for easy choices like "(Don't Fear) The Reaper" or "Burnin' For You". Some might go for less obvious choices such as "Godzilla" or "Astronomy" but it's incredibly doubtful anyone will pick any tracks from this album. It was their second album released and even though it spawned many deep cuts that would become fan favourites, none of the tracks would become iconic Classic Rock or Hard Rock hits. It's a shame too as this album has some right crackers!
Album opener "The Red & The Black" kicks things off to a feisty start, showing the band hadn't spent all their energy on writing a solid debut. It's a perfect track for anyone who's into guitar-driven Rock, thanks to the fretwork of Buck Dharma (my favourite guitarist), and fortunately the rest of the album follows suit. Tyranny And Mutation contains a variety of different Rock subgenres but at its core, it is a Hard Rock album done right. Whilst it may not contain any instantly catchy songs or riffs that the band would become known for in later years, it's high quality material from start to finish.
Whether it's the band's take on Blues Rock ("O.D.'d On Life Itself"), Heavy Metal ("Hot Rails To Hell") or even borderline Psychedelic Rock ("Wings Wetted Down"), each track fundamentally "rocks". There's also a good amount of Classic and Hard Rock, such as "Mistress Of The Salmon Salt (Quicklime Girl)" and my personal favourite track on the album "7 Screaming Diz-Busters". All in all, though, it's a must-listen for any fans of Riff-Based-Rock and 70s Hard Rock.

1. The Red & The Black

2. O.D.'d On Life Itself

3. Hot Rails To Hell

4. 7 Screaming Diz-Busters

5. Baby Ice Dog

6. Wings Wetted Down

7. Teen Archer

8. Mistress Of The Salmon Salt (Quicklime Girl)

ALBUM RATING - 8/10

2. Rush - Rush

The debut and self-titled album from a band arguably more associated with Progressive Rock and the 80s. Again, most fans will likely list tracks off Moving Pictures, Permanent Waves or 2112 when it comes to picking great Rush songs. Some might choose "Working Man", easily the most well known Rush track off the album, but when I first listened to this all the way through I was surprised to hear so many great Hard Rock tracks. That could explain why it tends to get ignored, as it's pretty far away from what most people would consider to be classic Rush.

Not only is it the only album with original drummer, John Rutsey, but most of the songs are about general themes such as love and friendship ("Need Some Love" and "Take A Friend") as opposed to the blend of philosophy and Sci-Fi the band would adopt thanks to Neil Peart. The lack of significant Prog Rock elements and the increase in Blues Rock factors almost make it sound like a lost Led Zeppelin album, something many Rock fans would kill for.

It's not the best Rush album but it definitely doesn't deserve to be forgotten about, which is its current fate. Seek this album out if you like 70s Rock, particularly early 70s Hard Rock. Whilst I'm at it, you might want to listen to the first half of Caress Of Steel too. I know it's often regarded as Rush's worst album but it only really gets dull when it gets to the 11 minute tracks. As for Rush (album)? It starts and ends strong, which is more than I can say for Moving Pictures.

1. Finding My Way

2. Need Some Love

3. Take A Friend

4. Here Again

5. What You're Doing

6. In The Mood

7. Before And After

8. Working Man

ALBUM RATING - 7/10

3. Machine Head - Deep Purple

The only album on this list which is generally regarded as the band's "best" or at least a standout effort. It's probably my favourite Deep Purple album out of the ones I've listened to and it's definitely got a solid collection of great Hard Rock tracks starting off with the absolute belter of an album opener "Highway Star". It's not just one of Deep Purple's greatest songs but it's quite possibly one of the greatest Hard Rock tracks in the history of the genre, boasting awesome work from each band member from Ian Gillan's roaring vocals to Richie Blackmore's Classical-inspired guitar solo.
The rest of the album never quite reaches that same high, in my opinion, but that's not to say it fails to impress. By this point in the band's career, they'd established themselves firmly in the Hard Rock category after a Psychedelic Rock start and if you like your Hard Rock with epic riffs and organs, there's bound to be at least a couple of other tracks up your alley here. Chances are those tracks are the other two well known songs off the album, "Space Truckin'" and "Smoke On The Water", the band's signature song with quite possibly Rock's most iconic riff (even if the rest of it is largely uneventful).
For me, this album could've done with another track containing the same amount of power and pure Rock as the album opener, as the closest Machine Head comes to that again is seven minute Blues number "Lazy" and even that's pushing it. They probably chose "Highway Star" to kick things off with a bang but neglected to think about whether they were prematurely blowing their load. If you haven't heard any of the previously mentioned tracks, I'd recommend listening to this album. Otherwise, you're unlikely to get much out it.

1. Highway Star

2. Maybe I'm A Leo

3. Pictures Of Home

4. Never Before

5. Smoke On The Water

6. Lazy

7. Space Truckin'

8. When A Blind Man Cries

ALBUM RATING - 6/10

If there are any albums you'd like me to discuss or if you have any suggestions for decades, genres and/or bands to cover on the next Rapid Fire post, let me know in the comment section or via Twitter.

I'll be posting again this week (probably not another Rapid Fire post though) so keep your eyes peeled for more from me!

Showdown: Deep Purple Vs. Whitesnake

I've decided to introduce a new feature that I may or may not use more often. In a few of my reviews, I've compared the albums I'm discussing to albums from decades before or artists I'm reviewing to their obvious influences. Rather than write a review of a new album if it's just going to be me talking about how it's better or worse than another band's efforts, I reckon I might as well just do a blog post running through the tracks on a new album & weigh in on whether I think they can go toe-to-toe with something else.
In this post, I'll be talking about the new Whitesnake covers album, called The Purple Album:

Basically, it's the modern incarnation of Whitesnake tackling a bunch of well & lesser known tracks from the Coverdale era of Deep Purple. Namely songs from Burn, Stormbringer & Come Taste The Band.

So now the fighters have been introduced, time to ring the bell & get this match started!

ROUND ONE: Burn
Deep Purple - OK, this was always gonna be a tough one for Whitesnake to win in my eyes. I'll categorically go on record & say that this song is literally my all-time favourite song. I love everything about it & will always stop to listen to it if it's playing on the radio or my iPod shuffles its way onto it. Everything about this song is epic from the apocalyptic organwork of Jon Lord to Ritchie Blackmore's instantly badass riff.
Whitesnake - I had high expectations for this as Whitesnake have previously blown this song out of the water when played live. There are some improvements, e.g. David Coverdale no longer doing that "AH-AH-AH" screaming before the solos, but there are also a couple of downgrades, e.g. the extended bridge during the guitar solo, as it bloats an already perfected song.
VERDICT - If you like more technical guitar and an overall heavier sound, I'd probably recommend the Whitesnake cover if you haven't heard either of them. However, if I had to say which I think is the superior recording then hands down, it's Deep Purple.

ROUND TWO: You Fool No One (interpolating "Itchy Fingers")
Deep Purple - Definitely not sold on this track. There's something about Ian Paice's drumming and the vocal harmonies that give it a Caribbean cruise ship vibe, in a very bad way. However, once Blackmore's let loose on his fretboard and the rest of the band take a step back, it twists from Cabana Club to Santana. Not enough to make me love it but easily enough to make me not hate it.
Whitesnake - Every issue I had with the Deep Purple original has been sorted out. Tommy Aldridge's drumming is more powerful and the verse vocals feel less like they're part of a variety act & more like they belong to a Hard Rock outfit. The obvious complaint would be the harmonica intro, as about 99% of harmonica playing in Rock is completely unnecessary.
VERDICT - Both tracks are kinda flat compared to more iconic DP tunes but I'm awarding this win to Whitesnake, as they turned a mediocre number into a Hard Rock song as it should be.

ROUND THREE: Love Child
Deep Purple - Whilst it pains me to speak of the great Jon Lord's work in a critical tone, there's some very questionable synth about midway through this song. Otherwise, it's a bit of a slow rocker with Tommy Bolin taking the six-stringed helm instead of Blackmore. Admittedly, he does an acceptable job but aside from a few cool riffs, he doesn't show off much talent here.
Whitesnake - The guitar tone has definitely improved thanks to Reb Beach & Joel Hoekstra (not sure who took lead on this track) & the overall sound is a lot heavier, but I get the feeling that'll be the case with most of these songs. The song has been fleshed out a bit more with some rapid soloing so if that's your kinda thing, you'll probably prefer this version.
VERDICT - Again, I wasn't particularly impressed either track and feel that both bands handled this one in their own way. However, I also kinda feel like Blackmore may have done a slightly better job so I'm giving this one to Whitesnake.

ROUND FOUR: Sail Away
Deep Purple - The funk is strong with this one! We've got a drumbeat you can dance to, more synth-quacking and some eerie guitar soloing towards the end of the track which Blackmore liked so much he ended up repeating almost note for note across the next couple of years. I know Coverdale was probably going for the whole mystical sound with his vocals but sadly, he just sounds bored. Mind you, listening to this song, I can't really blame him.
Whitesnake - Out of the songs I've listened to so far, this track has probably been changed the most. Rather than trying to recreate the Funk Rock sound, Whitesnake have turned this into a far more sombre, soulful tune. Presumably this is because it's been done in tribute to Jon Lord (hence the "Elegy For Jon" addition) but it's good to hear this band actually making the songs their own and, depending on your taste, vastly improving them.
VERDICT - Yeah, no contest. Whitesnake all the way.

ROUND FIVE: The Gypsy
Deep Purple - Unlike the previous track, this song takes influences from Soul music & doesn't make it sound like a disco abortion. Instead, we get a slow but haunting track with some nice guitar layers that manages to feel imposing in size without relying on volume or dynamic bursts from any of the instruments. I like this one!
Whitesnake - One thing I'm noticing with all these covers is that they've been changed to a lower key to accommodate Coverdale's deeper vocals that have changed with age. I think I probably prefer most of the new riffs as a result but with this song, I also like the added power that Aldridge's drumming brings to the table, along with Michele Luppi's keyboard in the background.
VERDICT - It's a tough one. Whilst I think I would listen to the Whitesnake cover for reasons down to personal taste, I'm gonna say Deep Purple on this one as their original is still as good as the cover but for different reasons. They've clearly tried different styles of music across these tracks (some good, some bad) which I feel deserves at least one merit, whereas Whitesnake are arguably over-reliant on a standard modern Hard Rock sound.

ROUND SIX: Lady Double Dealer
Deep Purple - About time we had another song with a fast rhythm! It doesn't last too long & every instrument has its place. The only thing I'd change would be vocals, as they come across a bit weak on this track. I'm not entirely sure if it's Glenn Hughes or David Coverdale steering the ship on this one but it could've done with a better vocal mix. Other than that, great stuff!
Whitesnake - Likewise, vocals are a bit off on this track too. They have the right amount of attention in the mix but Coverdale sounds kind of screechy in this recording. However, it's still a mighty fine track that Whitesnake have faithfully recreated with some wellied up guitar solos.
VERDICT - Both are equally serviceable as a fast-paced rocker destined to be blasted from a car stereo as you're hurtling down roads at 70mph. You'll probably prefer one due to personal taste but since they're both adequate in their own right, I award both Deep Purple and Whitesnake the win for this one so they'll both get a point on the final score. Yes, I can do that, deal with it. Double deal with it (fnar fnar).

ROUND SEVEN: Mistreated
Deep Purple - Personal opinions aside, this bluesy track has some pretty sweet bass from Glenn Hughes (although I still think he's an epic tosser) and gradually builds up to a dynamic guitar solo aided by Ian Paice's drumming. There's not much to say other than it's a very long track with a lot of emotion put into it.
Whitesnake - You know those moments in songs that make you cringe because they've just missed the mark and end up sounding fucking awful? When Coverdale comes in with "I've been mistreated", it just sounds wrong. Combine this with the seven minute slog that is the rest of the song and you've got something that's easily forgettable.
VERDICT - I'm not fond of either song but I have to say Deep Purple played the more tolerable version.

ROUND EIGHT: Holy Man
Deep Purple - Starting off with a soft intro, this tune clearly takes influence from respectable peers of the time whilst still retaining some Deep Purple elements. I'd argue that perhaps Jon Lord's organ could've been a bit more involved but upon reflection, it's nice to hear Deep Purple that isn't overloaded with synth or keyboards for a change.
Whitesnake - Solid intro that seems to have transformed the Led Zeppelin sound into a beefed up Rod Stewart one. Again, it's nice to hear the odd track on an album that doesn't just follow the same formula as all the others and I think this is probably the closest to "different" out of the previous Whitesnake covers.
VERDICT - Once again, I'm in two minds over which version I prefer. They're both great for different reasons so I'll have to give a point to Deep Purple and Whitesnake again, as they both show that sometimes it works to poke a toe out of your musical comfort zone.

ROUND NINE: Might Just Take Your Life
Deep Purple - Another great driving song, although not one for tearing down the motorway. Blackmore's guitar is complimented by Lord's organ, or vice versa depending on whom you prefer, and the vocal harmonies work very nicely indeed. I'm surprised this song isn't played more on Rock radio, if I'm honest!
Whitesnake - I'm liking that slide guitar intro! That's one advantage to this cover although sadly, the drums in the verse are a bit of a let down. Technically, they're fine, but something about them just makes it sound like the steady rhythm is being interrupted. I'm aware Ian Paice does the same thing in the original but the heavier sound in Whitesnake's cover just makes the rhythmic disruption sound more obvious. Other than that though, great cover!
VERDICT - If not for the drumming, Whitesnake would've taken this one. However, I'm gonna go with Deep Purple this time. However, I also recommend Whitesnake's for the intro alone.

ROUND TEN: You Keep On Moving
Deep Purple - A simple but effective bass refrain introduces us to a song also sung by Mr Hughes. Admittedly, it's not bad. Not amazing but also not terrible, which also serves as a very complimentary description of Glenn Hughes in general too. I probably should've mentioned something along these lines during "Holy Man" but it was way better musically than it was vocally.
Whitesnake - The bass is still clear and deep thanks to Michael Devin so at least they got the most important part right. Coverdale's vocals are easily as strong as the original version's and the rest of the band are able to work as a cohesive unit.
VERDICT - Neither version stands out as being a clear winner but I think I'll give the point to Whitesnake as their recording has the benefit of sounding heavier through modern recording technology.

ROUND ELEVEN: Soldier Of Fortune
Deep Purple - More soulful vocals from Coverdale & another Soft Rock ballad for the collection. This one is a bit of a fan favourite and is easily a departure from their typical material. Personally, I can't listen to it without hearing "We are sailing" during Blackmore's guitar riffs (you know the ones) but this track sets the bar very high if Whitesnake wanted to cover it without losing some of the soul.
Whitesnake - Fortunately, the band can easily reach that bar. The synth isn't overpowering and the vocals are still well delivered. The track has definitely been polished but rather than trying to outdo or copy exactly what Deep Purple did, Whitesnake have added little elements like an acoustic guitar instead of the electric one for the "We are sailing" bit.
VERDICT - Fans will obviously prefer the Deep Purple original for several reasons but my point goes to Whitesnake for the change in guitar. It sounds more appropriate for the song overall, but maybe that's just me. On a side note, with the number of slow ballads I've been listening to, I'm not surprised that few of these tracks are considered iconic Deep Purple songs.

ROUND TWELVE: Lay Down, Stay Down
Deep Purple - OK, time for a small confession. This is one of the few songs I'd listened to before The Purple Album was announced. However, that doesn't affect my opinion of the song. It's got a great riff, a footstomping beat and Jon Lord on piano instead of organ. It adds less of a Prog Rock feel which is perfect for fans of Deep Purple's harder material.
Whitesnake - The short piano intro from the original has been replaced by Beach or Hoekstra shredding it before the song starts properly. Nothing much has changed apart from the more technical solos and heavier sound though.
VERDICT - As I said, both songs are great and the differences mostly come down to the date they were released. If you prefer the sound of modern Hard Rock, go with Whitesnake. If you prefer the sound of 70's Classic Rock, go with Deep Purple. I'm gonna give the win to Deep Purple on the principle that sometimes simpler is better. Songs can lose some of their touch if they go overboard on the hollow shredding and I think the Whitesnake cover pushed it just a little bit too far.

ROUND THIRTEEN: Stormbringer
Deep Purple - The first time I heard this song, it was played live during Whitesnake's aforementioned cover of "Burn". They only played up to the first chorus but they completely crushed it, so I decided to check this song out. Once the initial shock of more dodgy synth passed, the rest of the song was alright. Solid riff, meh solo that would be improved and worked into Rainbow's "Stargazer" a couple of years later and some decent vocals too. Unless you're fully sold on the main riff, it's a pretty average track.
Whitesnake - This was the first cover they released from the album and my God, did they choose wisely! First up, dodgy synth intro has gone. Next, some echo has been added to the vocals to make the song sound raw and fierce. Combine this with the lowered key on guitar and you've got a massively improved sound that suits the title "Stormbringer" far more than the original. Only complaint is maybe they could've shaved a couple of seconds off the end so I don't have to listen to five seconds of silence before the track officially ends, and that goes for every artist too!
VERDICT - What's interesting to note is that both Blackmore and Beach/Hoekstra have held back on the soloing. It would've been easy for both artists to just wail on the guitar but there's actually a bit of restraint from Deep Purple and Whitesnake here. However, if you couldn't tell from my write-up, it's easily a win for Whitesnake.

ROUND FOURTEEN: Lady Luck (Bonus Track)
Deep Purple - If you're only interested in the standard package, you can probably skip down to the score at the bottom. However, since there are only two extra songs, I figure I may as well include them. I can see why this was picked as a bonus track, as it's pretty unremarkable. A short but sort-of-sweet filler song that's been played quite well but without anything that stands out.
Whitesnake - Definitely not one of the stronger covers but if it's anything, it's faithful. One for fans of the original but unlikely to win anyone over if you weren't struck down by Deep Purple's version.
VERDICT - As I've said before, neither version is particularly fantastic or rubbish but I'm going with Deep Purple for this one, purely because their version is slightly shorter so you don't have to listen to it as long as you would with Whitesnake.

ROUND FIFTEEN: Comin' Home (Bonus Track)
Deep Purple - A great album opener in the same fast-paced vein as "Highway Star" and "Burn", although less heavy than either. I can't say I'm in love with Coverdale's performance on this as I feel like it's a song Ian Gillan would've mastered but the rest of the band are on top form, especially Tommy Bolin who had the difficult task of assuming the mantle from Blackmore after he departed. This song is a great way to introduce him to the fans concerned over whether DP could last without Mr Smooth Dancer.
Whitesnake - I expected more of an explosive intro but expectations aside, Coverdale disappoints in the vocal department again by going all screechy. However, the rest of the band deliver a great closing track (if you bought the deluxe edition) and I'm glad I stuck around to listen to them if only to introduce myself to this tune.
VERDICT - Both have the same strengths and the same weaknesses so I'm torn once more. You know what? Deep Purple and Whitesnake take this one together. There's not enough to place one song above the other so I recommend them both to respective Hard Rock fans.

FINAL SCORES:
Deep Purple - 7 (9 including Bonus Tracks)
Whitesnake - 8 (9 including Bonus Tracks)

Well, there you have it! It's both a win for Whitesnake and a draw!
With scores that close, Whitesnake's victory over Deep Purple could arguably be down to the refined sound that they achieved through upgraded recording technology. Their music sounds a lot heavier and clearer at the same time, giving them the edge on this one. However, in regards to contextual advantages, Deep Purple can also claim some triumph.
The original albums were recorded over the course of about two years, allowing the band time to experiment with different styles and inspirations, whereas Whitesnake's covers were all recorded for the same album so their efforts have less musical variety. As a result, most of the tracks contain the same modern Hard Rock sound, which may be a downside if you like an album to take you all over the place as opposed to just one or two locations.

If you like 80's Hard Rock that's been revamped with a modern touch whilst still staying true to the classic sound, definitely pick up "The Purple Album". I wouldn't recommend the deluxe edition, as you can buy the two songs online for a lot less if you really want them.
If you're a fan of the original Deep Purple tracks, they'll always have something that these Whitesnake covers won't be able to recreate. However, if you're able to give covers of your favourite songs a try, I think you'll be in for a treat. There are more good songs than bad ones so I reckon it'd translate into a 7/10 if I reviewed it properly.
Stay tuned for more posts throughout the month!