Deep Purple and producer Bob Ezrin return with what could be (and most believe will be) their swan song offering. This one, along with their previous effort, are not works of the pedestrian order, let’s put it that way. They’re some of the best albums in the history of the band, without a doubt. That is unless you’re stuck in the static norm of incapability to deal with a Deep Purple that doesn’t have Ritchie Blackmore in it. Not to mention using Jon Lord’s amicable departure (which some fans also think is not true), as any kind of excuse to sell yourself and this band short. Put that attitude away, or lose what these albums really bring to the table. This is not the band's loss, never has been, never will be. And this album is simply just that good, coming from a major fan or not. Their last album was prog, and so is this one, but for all sorts of different reasons. Taking you through moments of spoken word, and even into AOR-Prog territory, I give this album as high of marks as any classic of the 70s or 80s they recorded. This is my second look at the album, the first being an early allowed stream, and this being the big deluxe box set, which comes with a nice variety of bells and whistles. It also sports what is also easily one of their best cover art jobs. Everything about it delivers and then some. There is nothing easy about it. This is a monster contemporary prog-rock album by one of the longest running bands in the history, and it sounds more like when they came in, than when they’re going out.
This review is available in book format (hardcover and paperback) in Music Street Journal: 2017 Volume 4 at lulu.com/strangesound.