When you think of Deep Purple, their legendary 70s output is generally the first thing that comes to mind. However, their 1987 release, The House Of Blue Light, is a hidden gem that shouldn’t be overlooked, for this 12th studio album by the English rockers is amongst the greatest they’ve ever released. Yes, some may lament the 80s production style that, arguably, made Deep Purple more accessible than ever before, but to ignore The House Of Blue Light, for that aspect alone, is incredibly short-sighted.
Starting with the welcoming, yet mysterious, album artwork, which was bound to garner attention at record stores upon release, it’s amongst the most stunning from Deep Purple’s illustrious back catalogue. Of course, an album’s artwork would be for naught if it failed to live up to a solid musical presentation, and in this regard, the Lossless Apple Music stream is thoroughly enjoyable. Could it be a little more bombastic? Yes. However, a remaster would surely destroy the album’s dynamic range, and that’s one aspect I’d prefer to see avoided.
Derived from what appears to be the 1999 CD release, this particular streamed edition matches the original vinyl edition’s runtime. Yes, that results in some songs being truncated from those heard on the original CD releases, but this particular edition flows so perfectly that I prefer to think of the original CD releases as being a collection of extended mixes rather than the primary version of the album.
This aspect isn’t uncommon amongst albums from the era, as the Compact Disc’s extended runtime allowed for further artistic experimentation. Still, just because the format could support a longer runtime, that doesn’t mean the experience is more fulfilling and in many cases, it’s detrimental to the fan base as it encourages multiple purchases of the same album; a record industry practice that continues to this day with a plethora of different versions for each major launch. It’s a disappointing practice, but regardless of which edition you prefer, or if you’ve overlooked The House Of Blue Light, join me as I take a look at the highly compelling music that the Mark II line-up of Deep Purple (consisting of Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord, and Ian Paice) delivered on their final 80s release.
Bad Attitude opens the album with a menacing organ element that plays into the mystique of the record’s cover art before launching into a thoroughly satisfying riff-driven number that will find you toe-tapping and head-bopping along. It’s pure rhythmic gold and is the perfect opening tune.
The Unwritten Law is utterly brilliant with a multi-layered presentation that unravels itself further the more you listen to it. Blackmore’s riff and Gillan’s vocal delivery are particularly noteworthy, but the entire band is on fire with one of the most memorable tracks on the record.
Call Of The Wild harkens back to the 70s with a sound that old school Deep Purple fans will likely appreciate. The more stripped-down, rock-driven melody will impress, as does Lord’s performance on the organ/synthesisers. It is, however, the chorus and Gillan’s vocals throughout that make Call Of The Wild so compelling. Yes, it’s an 80s rock and roller, but, at its core, it could also have been recorded at the height of Deep Purple’s success and would likely have been one of their greatest hits. Unfortunately, despite being chosen as the album’s lead single, it failed to chart well and has been all but forgotten; a shame considering this is one song that deserves far more attention than it often receives.
Mad Dog launches with another incredible Blackmore riff, one that is highly energetic and reminiscent of their earlier recordings. It isn’t a standout, but it does grow on you, and all songs need not be stadium-worthy to contribute to a pleasing album experience.
Black & White isn’t a great song, certainly as it pertains to the quality of songwriting we normally expect from Deep Purple, but Gillan’s performance ensures the listener’s interest is retained in an otherwise forgettable tune.
Hard Lovin' Woman leans into the 80s high-production style and is a little too pop-rock for Deep Purple. Still, it isn’t a bad track and does add to the overall album experience.
The Spanish Archer is a little left-of-the-centre and is the type of song you’d expect to hear from Genesis. It likely won’t appeal upon first listen, and there’s no doubt that The Spanish Archer is the weakest song from the record, but if you give it a chance, it does grow on you.
Strangeways is a killer tune with a catchy rhythm that will appeal to just about any music lover. It would have also been a stunning live performance, but it’s sadly been overlooked; a shame considering it’s amongst their greatest recordings, from any era.
Mitzi Dupree dips into the blues for this laid-back number. It’s a great tune, but there’s no doubt that Mitzi Dupree won’t appeal to Deep Purple’s hardcore fans.
Dead Or Alive is a solid, high-tempo closer. It may not be a standout, but it will leave you feeling compelled to play the album again.
Overall, The House Of Blue Light is one of the most unexpected and pleasurable releases from Deep Purple. The commanding riffs, textured musical bed, and Gillan’s distinctive vocal presentation culminate in what can best be described as an exceptional album experience. No, it isn’t reminiscent of their 70s output, but make no mistake about it, The House Of Blue Light is 100% Deep Purple and is worthy of any fan’s music collection, especially if you give it a chance.