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Call of the Wild. Verified Purchase. One of my absolute favourites from DP catalogue. Some progressive elements never heard on albums by Mark II before. Surely better than its predeccessor in terms of melody and rocking strength. No fillers!
The album's full of hits. This edition sounds good, close to LP sound, and that's alright with me. The absence of absolutely useless bonus tracks that feature nearly every modern classic rock reissue is a blessing. You see it - you buy it! The CD starts with Bad Attitude and if there ever was a song that made you want to let loose about having an emotion for things not going your way then this is it. It's the beast beneath the calm skin and the music and lyrics give that connotation perfectly.
Unritten Law is one I like because of the simple guitar solo which soars in the middle of a scaled rhythm that makes one feel like they're on a wave about to crash. Other standouts are Black and White and Strangeways. LP of the Wild got the most air play but to me these other tracks are just as good. Was not too much of a fan on Mitzi Dupree although the subject of an Asian escort on a plane is pretty cool. I'm OK with his needs to perform BN music but I'd really love to hear that soaring guitar work again behind Gillan's voice and in synch with the crash of Paice, Glover's steady bass, and Lord's awesome and underrated keyboard work.
The House of Blue Light is like an awesome drug that you can use over and over again Listen to it and you'll feel great. Hearing the house of blue light will cause you to smile and feel happy!!!! One of Deep Purple's best and least-known albums, House of Blue Light has strengths that made Deep Purple so great are evident on this album.
Really underrated. This album is humorous with clever lyrics, top quality musicianship and killer solos from both Blackmore and Lord. The great Ian Gillan's vocals sound beautifully sinister and Glover and Paice are a strong rhythm section. The songs are well-crafted and tightly-woven together. The sound is very eighties, but good eighties. In my opinion this album is stronger than Perfect Strangers, with a greater variety of songs and a lot more experimentation.
Look for the Polydor German version of this album. It has longer versions of most of the songs. Some of them are up to a minute longer with some great jammimg that was faded out over here in the States. An overlooked and unappreciated LP. A must get. One person found this helpful. If you're looking to absorb some more of Deep Purple's rib-crunching, dramatic hard rock, but want something that hasn't been as endlessly re-released on compilations or on classic rock radio lately, "The House Of Blue Light" is an ideal find.
Released inDeep Purple's second "reunion album" was overlooked upon release, but is actually one of their most precisely formulaic albums since "In Rock. Each track sounds like an attempt to score a hit single, which means the band rarely crosses any musical boundaries, Album), but that's part of the album's hard-edged charm.
Despite a strict, limited approach, Deep Purple's musicianship still carries the power of a fiery chariot battalion, and they gut it out on each song with admirability. What's most important is that the group takes the seemingly cliched ideas of 'Mad Dog,' 'Bad Attitude,' or 'Black and The Unwritten Law - Deep Purple - The House Of Blue Light (Vinyl and presents them as stunning, addictive hard rock tracks. If one were to hand these musical ideas to most other bands, the results would not be as satisfying.
Ian Gillan's lyrics do the impossible task of sounding fresh, despite the limited formula, and Richie Blackmore and Jon Lord are typically dazzling, anchored by the rhythm section of producer Roger Glover and Ian Paice. Virtually all of the music here is catchy and exciting, most notably on the addictive 'Call of the Wild,' 'The Unwritten Law,' 'The Spanish Archer,' and 'Dead Or Alive,' a song that expresses the dangers of drug Album), with a very frank, that's-the-way-it-is perspective, preached with force by musicians who have been there and back.
Due to the unfortunate fact that it was dismissed upon its release, "The House of Blue Light" is quickly becoming more and more rare to find in music stores, like its two predecessors "Slaves and Masters" and "The Battle Rages On.
They are worthy additions to an already-bracing cannon of work. Good condition thanks! See all reviews. Top reviews from other countries. I had this when it came out on tape but sadly it became a bit worn out so I had to replace it. Some classic tracks and well worth a listen. Report abuse. The lackluster "best-of" compilations are generally piss-poor and completely redundant, since they usually contain a bunch of 8 to 12 worthy and ever-repeating tracks in various studio or live versions, and add a couple of "rarities" with no value whatsoever, except for completionists who have their Deep Purple collections in argon-filled vaults and include any bootleg bobble-head dolls of Blackmore, Gillan beef jerky, and every other item they can get their hands on.
Another interesting facet of the Deep Purple history is the family tree of the band. The collection includes obscure bands, and certainly provokes thought if nothing else. The band is, indeed, a powerhouse, a hard rock academy with various faculties named Rainbow, Whitesnake and others, and the DP 2 layer of the family tree probably contains hundreds of musicians from dozens of styles.
But The House of Blue Light is somehow a misstep. Many people who know more say that such albums as Bananaswith its stupid cover art, and the relatively recent Rapture of the Deep are actually good albums.
But The House of Blue Light does not work very well, and even if there are ideas worthy of the Mark II reputation, the execution kills the album's replay value. Ritchie Blackmore only stayed in the band for two more full-lengths after this album, and while the very good quality Nobody's Perfect live album was released after The House of Blue Lightwith Blackmore's guitar contributing its excellence for perhaps the last time, the two new works never get mentioned as anything special.
It perhaps took the departure of Blackmore, and more specifically, the injection of new blood in the shape of Morse, before Deep Purple could regain the bearings and produce something of value again. The House of Blue Light shares the same basic blueprints as Perfect Strangersbut falls short of the kind of heavy-hitting hard rocking it held inside.
Yes, there are innovative and successfully derivative ideas: the LP spidery keyboard thingy in "Strangeways", "Bad Attitude" and "Unwritten Law" with their reminiscence of "Knocking on Your Backdoor" and "Perfect Strangers", respectively, from the masterpiece three years earlier The rest is mostly almost poppy hard-rock-by-the-numbers that lags its feet behind, has a tempo too low to keep the songs interesting, and none of the sparking virtuoso performances of the 70s Mark II works.
These are songs that could have turned into something nice, but failed, and the whole album reeks more or less of waiting for the hard-earned pension.
It's toothless, almost neutered, and despite the basically OK chorus and melody, it's perfectly happy just being there, slipping almost all the way to the boredom level of AOR, and tries hard not to invoke any emotions. Gone are the days of frantic "Strange Kind of Woman" live perfomances, the almost surreal "Child in Time" magnificience, the jamming stretching of "Space Truckin'", that never turned boring despite reaching lengths way over 20 minutes, or the ruthless drive of "Speed King", "Fireball" and "Highway Star".
This is an ambition-free piece of work by a tired band, with some leftover ideas that could have been developed so much further. But they settled for less, and ended up with a cheap Taiwanese copy of Perfect Strangers. It's worth wondering how the hell they managed to recharge their enthusiasm after this album, and record the virtually flawless Nobody's Perfect on the album tour.
Yup, this piece of work is not what Deep Purple is all about. Surprisingly, Perfect Strangers is. Get that one, and enjoy the old-school originality still to be found on it. Get In RockMachine Head and even Burn from the other worthy Mark number and, especially, Made in Japan if you want to know where many of heavy metal's conventions are originally from.
But forget this let-down of a decade. Note: I have based this review on the CD remaster of this album, which has slightly shorter track lengths than the original release. Sometimes, an album just grabs you. You don't really know why-- if you try to analyse it, it doesn't seem like it should be that great.
Yet despite this there's just something that appeals to you on some fundamental level. Other times, the opposite holds: an album ticks all the boxes, there's nothing all that wrong with it, and yet you just can't quite bring yourself to truly enjoy it. For me, The House of Blue Light is definitely an example of the latter. This fact is, in many ways, the primary cause of my dissatisfaction with the release.
On the surface of it, there's really nothing wrong here. The album has a strongly eighties sound and it's kind of cheesy at times, but these pretty much go with the territory.
There's nothing wrong with the production, and the songs are reasonably catchy and pleasant-sounding. All of the members of the band are very talented and they all pull their weight.
The problem is, all of this contributes to a very safe and thus mundane sound. The band sounds like a group of very competent musicians going through the motions, painting by numbers.
Nobody seems to be willing to paint outside the lines, though, to put themselves out there and take a risk. This isn't necessarily a bad thing in a general sense, but this is Deep Purple!
To me, Deep Purple is a band who are at their best when they really cut loose. Classic tracks like Child in Time, with its insanely over-the-top vocal and solos, the intense speed metal assault of tracks like Fireball and Speed King, and the bludgeoning riffing and high energy of Space Truckin'-- these are all the creations of band who didn't know how much was too much, and frankly didn't give a shit.
There's an unreserved, unrestrained, joyous energy to the first three Mk II albums. They're exciting, they're dramatic, and although the band made their fair share of mistakes, they're far outweighed by all the incredible material on offer.
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