Author: Peter Podbrežnik
Artist: Deep Purple
Label: Sony BMG
Released: 1990
Length: 46:51
Rating: 4/5
»Slaves and Masters« was the only album by the British hard rock legends Deep Purple with American singer Joe Lynn Turner in the lineup. Turner, Ritchie Blackmore’s old buddy from the cult band Rainbow, was brought in by the mystical, moody guitar virtuoso himself, who was also the driving force behind the bizarre idea of sacking his ‘best friend’ Ian Gillan from Deep Purple and replacing him with a visually somewhat kitschy American with the perfect AOR ‘accent’. The original pick for Gillan’s replacement was actually Survivor singer Jimi Jamison, but he couldn’t take the job because of complications with his label at the time.
So what happened was a kind of mini reunion of the early-eighties Rainbow lineup, which once consisted of Blackmore, Turner and bassist/producer Roger Glover, while the then-current Mark V version of Deep Purple was rounded out by original members Jon Lord on keyboards and Ian Paice on drums, who also had a stint with the no less famous Whitesnake behind them. Plenty of traditionalists clutched their heads at yet another breakup of the Mark II lineup and the news of Turner stepping into Gillan’s spot, but this unusual hybrid of Rainbow and Deep Purple, embodied by »Slaves and Masters«, turned out to be surprisingly successful in artistic terms. Ever since Deep Purple’s reformation in 1984, Blackmore had been pushing toward a more melodic rock direction in both sound and songwriting, one Gillan, in his view, didn’t fit into at all and kept ‘getting in the way’ of. With the arrival of his ‘protégé’ Turner, the musical visions of the often sullen and totally unpredictable man in black, one of the greatest guitarists of all time, were finally realized.
The only problem was that practically no Purple traditionalist accepted the new singer, and that »Slaves and Masters«, despite being a thoroughly solid effort as a whole, even with a bigger dose of AOR than the average fan of this legendary band usually expects, completely tanked commercially. The idea that Deep Purple, who had by then been written off as ‘dinosaurs’ or ‘old farts’ for quite a few years, could still play a major role on the radio charts was something only Blackmore, with his leaning toward the irrational and the absurd, was still fantasizing about.
With the exception of the opening melodic rock treat »King Of Dreams«, which can rightfully be declared a Purple classic, »Slaves and Masters« didn’t contain any particularly inspired songwriting highlight worth mentioning, yet overall it’s a remarkably consistent studio record with a solid balance between sonic traditionalism and the occasional melodic rock infusion. The aforementioned, slightly mystical »King Of Dreams« is a powerful album opener, with an arrogant guitar riff and dynamic synth textures in the background, while Glover and Paice deliver relatively complex rhythmic combinations. The moment Turner’s mighty, traditionally somewhat showy vocal kicks in, peaking in an ultra-melodic chorus, the comparison with early-eighties Rainbow makes itself. Lord keenly rattles off his witty organ whims in between, while Blackmore’s melancholic guitar passages still sound fresh and inventive today.
»The Cut Runs Deep« has a dramatic keyboard intro that flows into a dirty guitar phrase resting on a massive drum backbone. As on most of the album, the American singer, preoccupied with his manicured nails and the length of his hair extensions, is with his sensual vocal approach the main source of »Slaves and Masters«’ deeper melodicism compared to its predecessor »The House of Blue Light« (1987). Blackmore’s and Lord’s dynamic electric guitar and organ solos in the middle of this very solid creation are a real balm for all fans of boundless virtuoso improvisation. The energetic hard rocker »Fire In The Basement« has all the ingredients of a traditional Deep Purple song: an inventive guitar phrase up front, a massive yet warm Hammond organ sound, melodic bass lines and well-measured drum fills. Interestingly, even Mr. Turner, who has always boasted extremely versatile vocal abilities, tries a somewhat different approach here, let’s call it a bit more bluesy, which doesn’t quite suit him. Once again there’s no shortage of Lord’s fiery organ solo improvisation, while Blackmore on guitar convincingly shifts between bluesy dreaminess and hard rock uncompromisingness throughout.
The painful love confession »Truth Hurts«, which once again brings back memories of the ‘American’ version of Rainbow, boasts a somewhat more dominant AOR production, which fits Turner’s traditionally melodic vocal excellently, much better than on the previous record. The overall dramatic atmosphere builds up with the help of wistful guitar passages and mighty symphonic keyboard embellishments. Ritchie once again conjures up a mouth-watering guitar solo, while Turner is superb at passionately switching between the high and low registers. The solid »Breakfast In Bed« is another more bluesy number with drowsy rhythmic nuances, mischievous yet complex guitar phrases, subdued organ lines and an irritably tinted vocal performance from the only singer Blackmore could get along with, more or less, even off stage.
»Love Conquers All« is a gripping power ballad with orchestral arrangements and a distinctly melancholic guitar melody that was practically made for Turner’s voice. The song peaks in an elegiac chorus where backing vocals join in, while Ritchie’s versatile guitar work is once again the very picture of inconsolable mysticism. That mysticism also marks the next track, »Fortuneteller«, which through its lyrics and mysterious mood touches on the album’s excellent cover art. The relatively calm intro soon tips over, with the help of a decisive guitar phrase, into an energetic section with irritated guitar passages and massive synth textures. Turner’s vocal once again does a convincing job of building tense drama, even though the song lacks a distinctive melodic chorus that could have been that missing ‘cherry on top’.
»Too Much Is Not Enough«, marked by a cheerful, ‘party’ pulse, is an openly commercial creation. Here the members of the MK V lineup, with a dirty guitar riff and a mischievous synth merry-go-round, while Turner tests the elasticity of his vocal cords in a cheeky, naughty performance, try to sound as ‘in’ as they possibly can. The production this time even goes for the sound that marked the hair metal bands of the day, which means it’s not an overly successful experiment. All the better, then, is the closing hard rocker »Wicked Ways«, which has every sonic ingredient the average Purple fan could wish for, with the possible exception of Turner’s otherwise excellent vocal. Backed this time by spirited guitar passages and fiery drum transitions, he once again recalls some of Rainbow’s achievements in the vein of the classic »Death Alley Driver«. Lord’s orchestral layers in the background contribute greatly to the dramatic atmosphere, while the man in black weaves one last inconsolable guitar solo on the album, full of oriental mannerisms.
»Slaves and Masters« was a seriously solid and utterly unique album that, for a brief moment, made Blackmore’s melodic rock vision of the ‘true’ Deep Purple sound a reality, a logical stylistic continuation from where Rainbow had last left off. It’s a shame that these days most of the band’s (current and former) members, and Deep Purple fans too, act almost as if this chapter of their career never existed, because the members of that lineup really have nothing to be ashamed of. As expected, the album tanked commercially, although the tour, especially in the Central European countries where people still have the most ear and understanding for this kind of music, was relatively successful.
One of the upsides of the short-lived MK V lineup was that they played classics from the MK III era live (»Burn«), songs Gillan had always refused to sing. Even though Deep Purple with Turner in the lineup held together until 1992 and had already started preparing the next album, management insisted on Gillan’s return at all costs, and Blackmore, gritting his teeth and with disgust, had to agree to it in the end, after a hefty pile of cash landed in his bank account (at his own demand). That’s how the second reunion of the MK II lineup came about, which also turned out to be its swan song, as within a year the man in black had completely exploded in his boundless hatred of Gillan and, declaring that he was ‘no longer interested in rock music’, packed up his Deep Purple suitcases for good.
Lineup
Joe Lynn Turner – vocals
Ritchie Blackmore – guitar
Roger Glover – bass guitar, backing vocals
Jon Lord – organ, keyboards, orchestral arrangements
Ian Paice – drums
Production
Roger Glover
Tracklist
1. King of Dreams
2. The Cut Runs Deep
3. Fire in the Basement
4. Truth Hurts
5. Breakfast in Bed
6. Love Conquers All
7. Fortuneteller
8. Too Much Is Not Enough
9. Wicked Ways
