Slaves And Masters

Slaves And Masters

Deep Purple

RCA, 1990

REVIEW BY: Ben McVicker

ORIGINALLY PUBLISHED: 07/22/2008

This album always inspired something of a feeling of dread within me when I’d pass it by in the CD stores. Maybe it was the cover art featuring a mystical crystal ball and hints of a swords and sorcery theme. Or perhaps it was the dated ‘80s mug shots contained within the liners, with Ritchie Blackmore described as a ‘winger,’ Ian Paice a ‘centre forward,’ and other such nonsense. Right down to the ominous factor of it being Purple’s (un)lucky 13th studio album, there was something precarious about Slaves And Masters that I just couldn’t put my finger on.

At first, it sounds as if the band is trying to recapture the sound of Perfect Strangers. “King Of Dreams” nearly mimics the title track at first, with Jon Lord’s brooding introductory keyboards and Blackmore’s moody guitar accompaniment. When former Rainbow vocalist Joe Lynn Turner kicks in on vocals, though, one just isn’t sure what to make of him. Faceless and bland, Turner brings his mainstream AOR vocal style to Deep Purple and dilutes the band to a Shallow Grey. The poppy chorus has a good hook to it, but it’s so commercial and so hopelessly ‘80s that it leaves one shaking one's head. Blackmore contributes not so much a guitar solo as an interlude, and Turner's lyrics lack the wittiness that was characteristic of Gillan's.

“The Cut Runs Deep” is closer to what listeners expect of Deep Purple, featuring a catchy, chugging guitar riff from Blackmore, and more of an energetic performance from Paice. A loud chorus gives the song a stadium rock feel, while Lord and Blackmore contribute some nice solos. A bit uneven, but not bad.

“Fire In The Basement” is the first above-average tune on the disc, with Blackmore and the band going for more of a classic rock sound. It could have easily been on a Mark II effort back in the day, and given the lack of originality on this disc, who knows, maybe it was a leftover!