Deep Purple

Deep Purple evolved in 1968 following sessions to form a band around former Searchers drummer Chris Curtis (Christopher Crummey, 26 August 1941, Oldham, Lancashire, England). Jon Lord (b. 9 June 1941, Leicester, Leicestershire, England; keyboards) and Nick Simper (b. 3 November 1945, Norwood Green, Southall, Middlesex, England; bass), veterans, respectively, of the Artwoods and Johnny Kidd And The Pirates, joined guitarist Ritchie Blackmore (b. Richard Hugh Blackmore, 14 April 1945, Weston-Super-Mare, Somerset, England) in rehearsals for this new act, initially dubbed Roundabout. Curtis dropped out within days, and when Dave Curtis (bass) and Bobby Woodman (drums) also proved incompatible, two members of Maze, Rod Evans (b. 19 January 1947, Slough, Berkshire, England; vocals) and Ian Paice (b. 29 June 1948, Nottingham, Nottinghamshire, England; drums), replaced them.

Having adopted the Deep Purple name following a brief Scandinavian tour, the quintet began recording their debut album, which they patterned on US band Vanilla Fudge. Shades Of Deep Purple included dramatic rearrangements of well-known songs, including ‘Hey Joe’ and ‘Hush’, the latter becoming a Top 5 US hit when issued as a single. Lengthy tours ensued as the band, all but ignored at home, steadfastly courted the burgeoning American concert circuit. The Book Of Taliesyn and Deep Purple also featured several excellent reworkings, notably ‘Kentucky Woman’ (Neil Diamond) and ‘River Deep - Mountain High’ (Ike And Tina Turner), but the unit also drew acclaim for its original material and the dramatic interplay between Lord and Blackmore.

In July 1969, both Evans and Simper were axed from the line-up, which was then buoyed by the arrival of Ian Gillan (b. 19 August 1945, Hounslow, Middlesex, England; vocals) and Roger Glover (b. 30 November 1945, Brecon, Wales; bass) from the pop band Episode Six. Acknowledged by aficionados as the ‘classic’ Deep Purple line-up, the reshaped quintet made its album debut on the grandiose Concerto For Group And Orchestra, scored by Lord and recorded with the London Philharmonic Orchestra (reprised in October 1999 at the Royal Albert Hall with the London Symphony Orchestra). Its orthodox successor, In Rock, established the band as a leading heavy metal attraction and introduced such enduring favourites as ‘Speed King’ and ‘Child In Time’. Gillan’s powerful intonation brought a third dimension to their sound and this new-found popularity in the UK was enhanced when an attendant single, ‘Black Night’, reached number 2. ‘Strange Kind Of Woman’ followed it into the Top 10, while Fireball and Machine Head topped the album chart. The latter included the riff-laden ‘Smoke On The Water’, now lauded as a seminal example of the hard rock oeuvre and a Top 5 hit in America. The album was also the first release on the band’s own Purple label.

Although the platinum-selling Made In Japan captured Deep Purple’s live prowess, relations within the band grew increasingly strained, and Who Do We Think We Are! marked the end of this highly successful line-up. The departures of Gillan and Glover robbed Deep Purple of an expressive frontman and imaginative arranger, although David Coverdale (b. 22 September 1951, Saltburn-By-The Sea, North Yorkshire, England; vocals) and Glenn Hughes (b. 21 August 1952, Cannock, Staffordshire, England; bass, ex-Trapeze) brought a new impetus to the act. Burn and Stormbringer both reached the Top 10, but Blackmore grew increasingly dissatisfied with the band’s direction and in May 1975 left to form Rainbow. US guitarist Tommy Bolin (b. Thomas Richard Bolin, 1 August 1951, Sioux City, Iowa, USA, d. 4 December 1976, Miami, Florida, USA), formerly of the James Gang, joined Deep Purple for Come Taste The Band, but his jazz soul style was incompatible with the band’s heavy metal sound, and a now-tiring act folded in 1976 following a farewell UK tour.

Coverdale formed Whitesnake, Paice and Lord joined Tony Ashton in Paice, Ashton And Lord, while Bolin died of a heroin overdose within months of Purple’s demise. Judicious archive and ‘best of’ releases kept the band in the public eye, as did the high profile enjoyed by its several ex-members. Pressure for a reunion bore fruit in 1984 when Gillan, Lord, Blackmore, Glover and Paice completed Perfect Strangers. A second set, The House Of Blue Light, ensued, but recurring animosity between Gillan and Blackmore resulted in the singer’s departure following the in-concert Nobody’s Perfect. Former Rainbow vocalist Joe Lynn Turner (b. Joseph Linquito, 2 August 1951, Hackensack, New Jersey, USA) was brought into the line-up for 1990’s Slaves And Masters as the band steadfastly maintained their revitalized career. Gillan rejoined in 1993 only to quit, yet again, shortly afterwards, while his old sparring partner, Blackmore, also bailed out the following year, to be replaced briefly by Joe Satriani (b. 15 July 1956). The line-up that recorded the credible Purpendicular and Abandon in the late 90s comprised Steve Morse (b. 28 July 1954, Hamilton, Ohio, USA) on guitar, with Lord, Gillan, Glover and Paice. At the start of the new millennium, Lord announced his retirement and was replaced in the line-up by rock veteran Don Airey. He was featured on the band’s 2003 studio album, Bananas.

Time and time again Deep Purple is cited as the band that crafted heavy rock to a fine art. Along with Led Zeppelin and Black Sabbath they remain the genre’s undisputed leaders.

Pink Floyd

Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality in both sound and words. Despite their astral image, the group was brought down to earth in the '80s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular re-creation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio. 
While Pink Floyd are mostly known for their grandiose concept albums of the '70s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that was so common to the repertoires of mid-'60s British bands.
Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches, and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.
The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics.
The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio.
Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act.
Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion.
Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More... (a film soundtrack) were erratic, each contained some extremely effective music.
By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-timed stereophonic sound effects, and touches of saxophone and soulful female backup vocals.
Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide.
It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979).
The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet.
In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up -- for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again with his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts.
Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers -- many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member -- to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborate staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. In 2005, Waters, Gilmour, Mason, and Wright reunited to perform at Live 8. Barrett and Wright passed away, respectively, in 2006 and 2008; both were taken by cancer.
In 2011, Pink Floyd launched an ambitious reissue program called Why Pink Floyd...? spearheaded by significantly expanded multi-disc box set reissues of Dark Side of the Moon, Wish You Were Here, and The Wall. These sets marked the first time Floyd opened their vaults and issued rare, unreleased recordings, including the original mix of Dark Side, heavily bootlegged live numbers like "Raving and Drooling," and demos.