Deep Purple – Machine Head

Really big dynamic range. In fact, one needs a very good DAC or power amplifier to turn the volume up on this version. The sound seems very untouched with flat vocals and drums that perhaps could be changed with EQ.

British hard rock and heavy metal was still in its exploratory and experimental phase in 1971-1973, with its most successful pioneers -- Deep Purple, Black Sabbath and Led Zeppelin – all releasing consecutive touchstones around this time and touring extensively in between. Deep Purple had a distinct advantage over their peers in that they strived to replicate the ferocity and showmanship of their notorious live performances in the studio, as evidenced by the extremely loud and brash “In Rock”. And yet the band still felt assured that a stage environment was more conducive to dynamic group performances. With this in mind, they settled on the appropriate recording location to facilitate the tightness and interplay of their frenetic live shows – the empty Grand Hotel buildings in Montreux, Switzerland. Naturally, substituting a studio inside of a large empty building caused some issues with the recording process; listening to playbacks in the mobile recording unit outside was somewhat of an incredibly arduous journey, therefore the only plausible solution was to hole up inside and refine their performances ad nauseam. One such recording from said Switzerland sessions was inspired by the Montreux Casino burning to the ground due to a fan shooting a flare gun into the roof during a Frank Zappa concert. Given ample inspiration courtesy of said event and the picturesque Swiss scenery, most of the exceptional ensuing material the band were working with arose inadvertently or was simply built from improvisations whilst touring the country. All of these factors culminated in what is inarguably the group’s finest hour, “Machine Head”, a vital and consistently excellent set that elevated Deep Purple to legendary status.

“Machine Head”, released in 1972, has been undoubtedly overshadowed by the aforementioned ubiquitous song and its enduring references to the aforementioned blazing casino and the resulting smoke and flames on the lake. “Smoke On the Water”, infamously showcasing Ritchie Blackmore’s indelible chromatic riff, has become the default starting point for any burgeoning guitarist. Whilst beneficial to their career in that it broadened their audience, the acquisition of such a massively successful hit meant that the album it was contained within was judged purely on the basis of its commercial potential rather than by its merits. If one’s interest in the album hinges on its contents being as dazzling and dramatic as “Smoke On the Water”, then “Machine Head” is not for you. Aside from the punchy and subdued “Never Before” and “Highway Star”, which opens the album with a bang and focuses its attention on Blackmore and Jon Lord’s explosive soloing, nothing herein is delivered with as much pop sensibility. Let there be no mistake, the raging surrounding tracks, “Maybe I’m A Leo,” “Space Truckin’,” “Pictures of Home,” and “Lazy”, are all compelling and worthy of celebration in their own right, and when heard in the context of the album, the results are overwhelmingly potent and productive. To that end, “Machine Head” overcomes the unfortunate baggage of featuring one of rock music’s most famous songs.

As much as "Machine Head" is a sonic blast, it is easy to downplay its overall quality. Generally assumed to be a classic album because of its link to "Smoke On the Water", its comprehensive rock 'n' power has been undervalued ever since its release. In spite of Ian Gillan's killer banshee-like vocals, Blackmore and Lord's histrionic duelling and the rhythm section's impressive drive and thump, the band's inclusive delivery has never been considered as technical and seminal as that of Black Sabbath or Led Zeppelin. Nevertheless, the album, having influenced so many musicians for obvious reasons, is considered historically important, but if one takes the time to by the overplayed track and engage more with the unsung gems, a thoroughly exhilarating and captivating listen is ready and waiting.

Rating: 5/5

Review for the Steve Hoffman Audio Fidelity Gold HDCD reissue AFZ 065 (2010)...

I sort of knew what to expect upon purchase based on what I'd read about Steve Hoffman over the years, and already owning several of his 'Gold' CD reissues.
When using old original master tapes that are quite often in poor shape to begin with, and usually recorded on something that doesn't stand up all that well over time (the old Scotch 202 tape for example)...one can understand why the end result is what it is. Expect some noise, ticks, hiss, etc. Usually this sort of thing does not bother me. I'd rather have a bit of sibilance here and there, than massive compression and over use of noise reduction. Since Steve is known for NOT relying on a digital work station to remove these sounds, it is what it is...the best possible CD reproduction of what this album can sound like without digital enhancement.

WARNING: For those weened on and expecting an over-produced slick 'Bob Rock' type finished product, you should . Still for me (a vinyl junkie at heart), the production is very good, all things considered. Mind you, I still prefer the sound of my original UK vinyl first pressing on Purple Records, as it simply doesn't get better than this. That's the thing with CD's and much of the digital audiophile re-masters these days. So often they'll promote these reissues by saying things like "as close to a true analog sound as you'll ever hope to find" etc. That said, if you have the option, why not just play the vinyl?? Having a higher end CD player might help a bit with sound reproduction too I suppose. The Wolfson DAC converters found within my Arcam player seem to do this quite well. In my opinion, the sound quality found here is superior to that of any previous CD reissue. But again, a couple factors may come into play in determining this; the system being used, and how discerning ones ear is.