Loosen my strings (Deep Purple) (LP 2346 - 2356)

Deep Purple  Purpendicular (CD, RCA Records, 1996) ****  

Deep Purple  Live At The Olympia '96 (CD, Thames Records, 1997) ****  

Deep Purple  Live At Montreux 1996 (CD, Eagle Records, 2006) ***

Deep Purple  Abandon (CD, EMI Records, 1998) ***  

Deep Purple  Total Abandon Australia '99 (CD, RCA Records, 1999) ***  

Deep Purple  Bananas (CD, EMI Records, 2003) ***  

Deep Purple  Rapture of the Deep (CD, Edel Records, 2005) ****  

Deep Purple  Live At Montreux 2006 (CD, Eagle Records, 2007) *** 

Deep Purple  Now What?! (CD, EMI Records, 2013) ***  

Deep Purple  InFinite (CD, EarMUSIC Records, 2017) *** 

Deep Purple  Whoosh! (CD, EarMusic Records, 2020) ***  

Genre: Rock

Places I remember: Fopp; HMV; JB Hi-Fi.

Fab, and all the other pimply hyperboles: Vavoom: Ted The Mechanic (Purpendicular)

Gear costume: Rosa's Cantina, Sometimes I feel Like Screaming (both Purpendicular) 

Active compensatory factors: What are the odds that Deep Purple Mark 7*, in the mid-nineties, would pick themselves up and with a new guitarist forge and sustain a new vital career in music.

A long shot, right! But somehow, with Ian Gillan revitalised as a vocalist and lyricist, new guitarist Steve Morse from Dixie Dregs playing sublime guitar, and the other guys (Glover, Lord, Paise) back on form (although Ian Paice is always consistently great), blow me down if they didn't do just that - re-invent and innovate in the late nineties and then as Mark 8 (without Jon Lord) into the new millennium.

The production is superb on Purpendicular - Glover's bass lines are crisp and crystal clear (Glover wasn't producing - maybe that helped). The songs are well written, there's some interesting experimentation (there's no DP formula type songs), and the musicianship, as indicated earlier, is fabulous.

There are a number of highlights on Purpendicular that the band tap into in their revamped live set from the time. Live At The Olympia '96 is a superb live double album. 

It feels like a true live document and the set list is perfect: the best songs from Purpendicular alongside deep cuts from the early Mark 2 albums, plus including a visit to Perfect Strangers, and hits (Black Night is the fifth song up and includes a great audience/ guitar interplay section).

In fact, Steve Morse is superb throughout. His playing is his own even though he's often needing to play Ritchie's parts. 

The Live at Montreux 1996 album also documents the reborn band of the mid nineties. It has a couple of bonus tracks from their Montreux appearance in 2000. 

It's not as essential as the Olympia set - mainly because the audience doesn't go apeshit like the Olympia one does, but the vibrancy of the music is still there.

Deep into the nineties - 30 years after they started as a band, came Abandon. Roger Glover and the band are back on production duties for this one.

Steve Morse cements his position as the guitar foil needed in this hard driving rock album. He's also the star of the Total Abandon Australia live double CD album.

The live setting brings out that tight ensemble Deep Purple sound superbly and Total Abandon delivers big time. They were at the end of a long 1998-1999 tour and they sound fully on form.

The highlights are many but I can't go past Steve Morse's intro to Smoke On The Water (where he moves from classic Jimmy Page, Hendrix, Clapton, Van Halen riffs into Ritchie's classic Smoke On The Water riff) and then that version. Ian Gillan's stage announcements throughout the gig are once again a treat as well.

Into the naughties the band trooped but without Jon Lord. His knee injury brought on a retirement from DP and the recruiting of Don Airey as his replacement. 

Bananas was the studio album that emerged in 2003. It's a good start to the Don Airey/Steve Morse years with that signature DP sound present and correct. My only quibble is that it's too long as a CD and I tend to drift off towards the end.

Rapture Of The Deep continues that success and avoids the too-long CD syndrome. Although these albums probably fly under the radar of what's current in the naughties there is something very reassuring about their very presence. 

On songs like Wrong Man, Steve's intuitive understanding of what sounds like a good DP riff is a terrific attribute. he's definitely a great guitarist and fits the DP aesthetic so well.

The concurrent Live at Montreux album (2006) has the old standards yet again - there's no way they can't play Highway Star and Smoke on the Water but Space Truckin' really needs to be retired IMHO. Thankfully there is also a lot of the new material from Rapture (including Wrong Man) and I never get tired of Pictures Of Home.

The next studio album, Now What?!, came out seven years after Rapture of The Deep. In the meantime, Jon Lord had passed away (2012) and, fittingly, the album is dedicated to him.

The music is immediately recognisable as Deep Purple, which is as it should be. They proved in the past that moving away from their pulse beat and core sound wasn't a good move. The usual CD issue of it being too long returns for Now What?! It's probably three songs too many.

And, I'm not crazy about Don Airey's use of synths at the expense of the organ. That Hammond B3 is a crucial ingredient!

Bob Ezrin produced Now What?! and he was on board four years later for InFinite. In truth, I'm not sure it matters who produces Deep Purple albums, they are so used to each other by now they just do what they do.

Anyway, InFinite and Whoosh! continue the story (with great sleeve covers - it must be said) and what remains pretty remarkable is how Ian Gillan sustains his powerful delivery throughout all of these late period albums.

Highlights in this final trio of albums include Apres Vous and Vincent Price on Now What?!

Weak bit: I'm not sure why they decided to cover The Doors Roadhouse Blues on InFinite. It's a pretty weak version.

Where do they all belong? *Mark 6 had Joe Satriani filling in for live shows - nothing was released with the Mark 6 band to my knowledge. So that's it. The end of the Deep Purple albums in my collection. 

I haven't bothered to buy their most recent album at exorbitant prices - Turning To Crime is a covers album and the last to feature Steve Morse who left the band after its release. It's on Spotify (of course) and I've listened to it once. If I manage to find a copy in a shop I'll buy it, but I'm not making a special effort.

Getting tighter (Deep Purple) (LP 2341 - 2342)

Deep Purple Come Taste The Band (CD, Purple Records, 1975) ****  

Deep Purple Slaves And Masters (CD, RCA Records, 1990) *** 

Genre: Rock 

Places I remember: I bought Come Taste The Band in China of all places - in a bookstore in Wuxi that also had CDs. It's a 35th anniversary double CD with the original version and then a 2010 remixed version (with a couple of bonus tracks). The other CDs are from HMV.

Fab, and all the other pimply hyperboles: Getting Tighter (Come Taste The Band)

Gear costume: You Keep On Moving (Come Taste The Band)

Active compensatory factors: After Ritchie Blackmore left the band in 1975 they decided to carry on with a new guitarist. American Tommy Bolin was the excellent choice.

Mark 4 Purple only recorded the one studio album before disbanding. Tragically, Tommy Bolin would die from a drug overdose shortly after that.

It's an extension of Stormbringer's more funkier direction. Bolin is a very different guitarist to Ritchie (isn't everybody!). His team player approach was taking the band in a slightly different direction, but then - Mark 4 broke up and was eventually replaced by a return of Mark 2 in the eighties. 

When the reformed Mark 2 also petered out, Mark 5 was the next version to record an album in 1990 with Slaves And Masters. Basically, Joe Lynn Turner had replaced Ian Gillan for Mark 5's only studio album.

It's not a bad album as such, it just doesn't sound very Deep Purplish to me - more an attempt to compete with of-the-time rock bands like Foreigner. Joe Lynn Turner's vocals are the main reason. He's a good singer - just not really a good match for Purple. 

And then it was onto another a Mark 2 reunion after Gillan was brought back to replace Turner for The Battle Rages On in 1993. This Mark 2 reunion also ended badly and Ritchie left for good soon after.

Where do they all belong? A deep breath as the interweb catches up on the machinations - who's in, who's out. I'll head to some other albums before launching into Mark 6 a.k.a. the Steve Morse version of the band.

You fool no one (Deep Purple) (LP 2336 - 2340)

Deep Purple  Burn (Vinyl and CD, Purple Records, 1974) *** 

Deep Purple  Stormbringer (CD, Purple Records, 1974) ****  

Deep Purple  Made In Europe (Vinyl and CD, EMI Records, 1976) **** 

Deep Purple  California Jamming Live 1974 (CD, EMI Records, 1996) **** 

Deep Purple  Live In London 1974 (CD, EMI Records, 2007) ***  

Genre: Pop rock 

Places I remember: Fives (Leigh-on-sea); Fopp; Virgin Megastore (Dubai)

Fab, and all the other pimply hyperboles: Burn (Live version)

Gear costume: Stormbringer

Active compensatory factors: The two studio albums by the Mark 3 version of Deep Purple produced a great set list and these albums hold up. Especially Stormbringer!

Burn was all the rage when I was doing my second year trying to pass School Cert at Mt Albert Grammar. It's not the greatest Deep Purple album by a long stretch, it's weirdly mixed and won't go super loud without creaking but...I think it's a fine album (apart, obviously from "A" 200 which is clearly filler and real crap).

The rest though shows the band bouncing back from the departure of Gillan/ Glover with the hiring of Glen Hughes and David Coverdale and some exciting new sounds.

A funkier Purple and more confident Coverdale/Hughes have their peak on Stormbringer (the album). It still sounds fresh - which is amazing! All this in 1974!

Sadly, I think Stormbringer has been undervalued and almost forgotten in their vast catalogue. It's an excellent album and ripe for rediscovery.

The three live albums by the Mark 3 Purple are also worth investigating. I love the chaotic mess that is Made In Europe. Only 5 tracks so it's definitely a case of less is more, with definitive versions of Burn and Stormbringer songs. 

Ritchie is at his frenzied best on You Fool No One and then segues into a tender slow blues. What a guy! Or couple of guys!!

The California Jamming 1974 live album includes some Mark 2 numbers (Mule, Smoke On The Water and Space Truckin' which is interesting).

This was the show where Ritchie was pissed off at the promoter and took it out on a television camera filming the show. The performances are stirring (Mistreated, Might Just Take Your Life are especially good). The negative is the extended (boring) version of Space Truckin'.

The most thorough live document is Live In London which is a show at Gaumont State Theatre Kilburn, also in 1974, recorded 'for the old radio'. A busy year for the Mark 3 lads!

This is a double CD because they stretch out outrageously on some songs: 15 plus minutes for Mistreated; 20 plus for You Fool No One and a crazy 30 plus for Space Truckin'.

This is insane. No one can hold attention for that long.

Where do they all belong? The very short lived Mark 4 and 5 DPs coming soon.

A gypsy's kiss (Deep Purple) (LP 2303 - 2315)

Deep Purple  Concerto For Group And Orchestra (Vinyl, Harvest Records, 1970) ** 

Deep Purple  In Rock (CD, Harvest Records, 1970) **** 

Deep Purple  Fireball (CD, Harvest Records, 1971) **

Deep Purple  Machine Head (Vinyl and CD, Purple Records, 1972) *****  

Deep Purple  Made In Japan (Vinyl and CD, Harvest Records, 1972) *****  

Deep Purple  Live In Japan (3CD, Purple Records, 1972) ***  

Deep Purple  In Concert (Vinyl, Harvest Records, 1980) ***  

Deep Purple  In Concert '72 (CD, Warner Brothers Records, 2012) ***  

Deep Purple  Who Do You Think We Are (CD, Purple Records, 1973) ** 

Deep Purple  Perfect Strangers (CD, Polydor Records, 1984) ***  

Deep Purple  House Of Blue Light (CD, Polydor Records, 1987) ** 

Deep Purple  In The Absence of Pink - Knebworth 85 (CD, Connoisseur Collection, 1991) ***   

Deep Purple  The Battle Rages On (CD, RCA Records, 1993) **  

Genre: Rock 

Places I remember: Little Red Bookstore (Concerto); CD re-releases of In Rock/ Fireball/ Machine Head/ Made In Japan/ Who Do You Think We Are from Virgin Megastores; vinyl Machine Head from Taste Records; Made in Japan from David Jones department store (Sydney); rest from JB Hi Fi or The Warehouse.

Fab, and all the other pimply hyperboles: Highway Star (either studio or live - Machine Head or Made In Japan)

Gear costume: Demon's Eye (Fireball); Speed King (In Rock)

Active compensatory factors: I will need to break up the Deep Purple catalogue into the various line-ups (i.e. Deep Purple Mark 2 etc), because I own a lot of their albums.

Ha ha! Having said that I don't have any of the albums created by the original Mark 1 version.

Instead, we jump straight into Mark II - Roger Glover/Ian Gillan have joined Jon Lord, Ritchie Blackmore, Ian Paice.

Things got off to a weird start with the Concerto For Group And Orchestra created and driven by Jon Lord.

It sounds...different. I had started my Deep Purple love affair with Deep Purple In Rock, so, in the early seventies, I had no inclination to return to a record with an orchestra on it!

Fast forward to 2023 and I found a mint copy. My boyhood decisions, I've found over the years, were usually pretty spot on. Because I had very limited means of buying records I was very discerning. 

It's a curious work in many ways. I'm sure Ritchie did this music through gritted teeth. Suffice to say, I still struggle to listen to the album with any enthusiasm.

Deep Purple In Rock had me from the opening seconds of the first track - Speed King, and didn't let me go. 

My memories of the album are firmly tied up with a visit to a classmate's house in 1973. Brian Wood and I were both in Senior 5 at Mt Albert Grammar. He lived in Kerr Taylor Ave - which was on my walking route to get the bus back to Royal Oak. 

One day I stopped off at his and we played the In Rock album. While we were listening to it my mum rang the Woods' place and told me she'd pick me up to have a look at a new section she and dad had bought in Ramelton Road, Mt Roskill. All of that is very vivid in my brain still. It was a happy time!

The music is so radically different to the Concerto, it's a real shock that both albums came out in 1970. Ian Gillan is now a powerful presence where he was very much on the periphery for Concerto.

The highlights are plenty - Child In Time is a very confident statement in itself but the rest of the album is chock full of great songs and performances.

In comparison Fireball has a few great tracks but some meh ones as well. It's a pretty messy affair with some shockers (i.e. Anyone's Daughter) and loose jams masquerading as songs (everything else except for No No No and Demon's Eye - the one true classic Purple song on this runt of an album).

Machine Head is the classic Mark 2 album, forged out of adversity (Smoke On The Water, famously tells the tale of the album's inception).

Every song is an inspired piece of brilliance in sharp contrast to Fireball. I can remember buying the album from a record shop off Queen St in Auckland's CBD and thinking I was the cat's pajamas.

It sounded impossibly good to my teenage ears and I spent hours listening to it and poring over the lyric sheet and the cover. A seminal experience.

When my family went on a holiday to Sydney, Deep Purple's Made In Japan was central to my list. Here was another album I dissected groove by groove. Air guitaring to Ritchie on Smoke On The Water never gets old. I did it today when I relistened to the album.

The 3 CD Live In Japan set documents all of the live shows that contributed to Made In Japan: Osaka's two nights, and Tokyo. One for completists that one. In my opinion - less is more and the double vinyl original LP had enough to deal with. I'm not a fan of the extended CD version with a second CD of encores and the triple CD collection is nice to have (I HAD to have it) but hardly essential.

The In Concert double album collects the BBC in concert recordings made by the band. Compared to Made In Japan the recording doesn't pop in the same way and the performances (aside from Lazy) don't equal up either. Still good, but not great!

It was re-released in 2012 as a more palatable single CD with a bonus of Maybe I'm A Leo at soundcheck. It makes better sense with Mike's idiosyncratic introductions as well.

On to 1973 and tensions were starting to reveal themselves in the music with Who Do You Think We Are (no question mark). 

Sadly, it's a case of Fireball Part 2 with some icky moments (Mary Long), some greatness (My Woman From Tokyo) and a few interesting jam/doodles - best of which is Rat Bat Blue.

And then, that was it for Mark 2 Purple until Mark 3 and 4 had done their thing and time had gone by until Mark 2 reunited in 1984!

The result of the reformation was Perfect Strangers. It's a strong album in many ways but in others it doesn't quite work. As Roger Glover has said, "A great moment in time but, as an album, it doesn't quite hang together."

Although recognisably DP, the sound is not really like In Rock or Machine Head; it's not even like Who Do we Think We Are, instead it's a progression for the eighties into some symphonic rock along the lines of Led Zeppelin's Kashmir. It's taken me a while to embrace it. So far, it's been 40 years!

I tend to agree with Glover plus Jon Lord's belief that it was a mistake to try to be current in the eighties. He was referring to the Mark 2's last studio album together, 1987's The House Of Blue Light, but he might as well have added Perfect Strangers into the mix as well.

Those synths and eighties production techniques were not kind to a hard rocking guitar and organ band.

Plus, House Of Blue Light has the similar dysfunctional feel to it that Who Do We Think We Are had, in terms of some weak songs based on some loose jamming.

It's not all bad news though. Some highlights are Hard Lovin' Woman and Don't Turn Off The Light which has a whiff of Rainbow about it.

The double live CD from the band's appearance at Knebworth 1985 is named In The Absence Of Pink after a remark on stage by Ian Gillan as he introduces Gypsy's Kiss.

The concert was recorded by the BBC at the time and is a warts and all document. Some of the stage blather and ad hoc hijinks could have been edited out (worst offender Space Truckin') but still - it's now a historic document of the band in the mid-eighties.

Highlights include the opening version of Highway Star (Jon and Ritchie tear into their solos), Strange Kind Of Woman (an updated Blackmore/Gillan duel), and a spirited (if slightly shambolic until Ian Paice's tidy drum solo) Lazy. 

Luckily the encores no longer include their version of Lucille. Instead, it's a one-two-three punch of Speed King, Black Night and Smoke On The Water (of course).

Mark 2 got back together for a final time in 1993 to record The Battle Rages On. Ian Gillan replaced his replacement (Joe Lynn Turner) for this one off. Ritchie eventually tossed his toys again and that was it for Mark 2.

The album itself is noisy without having any great tunes or riffs that are memorable. Gillan sounds strident, Blackmore sounds like he's rather be playing music in Rainbow. All up - not a successful reunion.

Where do they all belong? Mark 3 Purple up next after a breather via a few jazz albums.

Knockin' on your door (Old And In The Way) (LP 932 - 938)

Various Old & In The Way (Vinyl, Grateful Dead Records, 1975) ****  

Genre: San Francisco, country rock 

John Mayall The World Of John Mayall Vol. 2 (Vinyl, Decca Records, 1968) ****  

Genre: Blues rock 

Claude Bolling, Jean-Pierre Rampal, Alexandre Lagoya Picnic Suite (Vinyl, CBS, 1980) ****  

Genre: Piano jazz

Sonny Terry Whoopin' (Vinyl, Alligator Records, 1984) ****  

Genre: Blues

Deep Purple/ Royal Philharmonic Orchestra Concerto For Group and Orchestra (Vinyl, Harvest Records, 1970) ** 

Genre: Pop/rock

Keith Jarrett Solo - Concerts (Vinyl, ECM Records, 1973) ****  

Genre: Piano jazz

Canned Heat Historical Figures And Ancient Heads (Vinyl, United Artists Records, 1971) ***  

Genre: Blues rock 

Places I remember: Record fair in Waipukarau (Oct 15, 2022)

Fab, and all the other pimply hyperboles: She's Too Young (John Mayall)

Gear costume: Sonny's Whoopin' the Doop (Sonny Terry)

Active compensatory factors: An eclectic bunch, right, but that's me - wide ranging taste has been a feature of my music collecting from the very beginning.

All of these albums are bunched together because it kind of made sense. For this very recent record fair, I allowed myself a budget of $150.  I did pretty well. All of those albums came to $152.

Most expensive was the Keith Jarrett triple album boxed set at $40 and the cheapest was the Claude Bolling at $12. Both of them, and the rest actually, I consider bargains. All are in excellent condition, too.

I've been after Old And In The Way (the Jerry Garcia led bunch of friends) since I admired it in Marbecks nearly 40 years ago. It's a fantastic country/bluegrass album played by musicians who love the genre.

I lost the Claude Bolling along my collecting journey so it was great to be reunited with that one, especially at that price.

I didn't realise the World of John Mayall even had a Vol. 2 sequel until I saw it at the fair. I needed to complete the set and this is an original Decca NZ pressing, just like my copy of The World of John Mayall, so a no-brainer at $15. Nor had I a clue that Sonny Terry did this album with Johnny Winter and Willie Dixon. It's as good as that combination sounds.

The Canned Heat album is an oddity in their catalogue with even Little Richard singing/playing on one track. Overall I love the familiar Canned Heat boogie tracks (bonus fab and gear track - Cherokee Dance).

That leaves a Deep Purple album which I've shied away from in the past - a rock band and a philharmonic orchestra seem too many poles apart. And you know what? I was right to avoid it for all these years - it has its moments but it's a Jon Lord album more than it is a Deep Purple one. Just sayin'.

And finally, the triple Keith Jarrett. I was hoping for something as great as The Koln Concert. Solo - Concerts takes in two dates in 1973 - Bremen and Lausanne. It's not quite as epic as the Koln Concert double peak, but over six sides Jarrett extemporizes superbly. I get a gospelly R'n'B vibe from time to time during these two shows which is intriguing and rewarding.

Where do they all belong? Until the next Record Fair comes to town, it's back to the regular run of posts for the next one.

I said, "Don't mind, but what do you mean I am the one?" (Michael Jackson) #175

Michael Jackson Billie Jean (long version)/ Billie Jean (instrumental version) (Epic 12", ES12053, 1982)

This song takes the 'let's build up the instrumentals until we get into a great groove' approach. There must be a technical name for this, surely.

I'm a sucker for it, whether it's Deep Purple's Smoke On The Water, The Bonzo Dog Doo-Dah Band's  The Intro And The Outro (Adolf Hitler on Vibes) or Billie Jean.

The song opens with a standard drum beat along with a standard hi-hat, and it contains hardly any reverberation. After two bars, another standard open hi-hat enters. After two more bars, a repetitive bassline enters. Each time it passes through the tonic, the note is doubled by a distorted synth bass. This accompaniment is followed by a repetitive three-note synth, playedstaccato with a deep reverb. The defining chord progression is then established. Jackson's quiet vocals enter, accompanied by a finger-snap, which comes and goes during the verses, as the rhythm and chord progression repeats.

That was according to wikipedia and I'm not about to argue. Written like that it doesn't sound like much does it? But there is a definite sense of energy and power when you hear it building these layers of sound. There's a reason for this.

The song was mixed by Bruce Swedien ninety-one times — unusual for Swedien, who usually mixed a song just once. Quincy Jones had told Swedien to create a drum sound that no one had ever heard before. The audio engineer was also told to add a different element: "sonic personality". "What I ended up doing was building a drum platform and designing some special little things, like a bass drum cover and a flat piece of wood that goes between the snare and the hi-hat" Swedien later wrote. "The bottom line is that there aren't many pieces of music where you can hear the first three or four notes of the drums, and immediately tell what the piece of music is." He concluded, "But I think that is the case with 'Billie Jean' — and that I attribute to sonic personality

Have a listen:



Hidden gem: The B side is labelled an 'instrumental version' but there are a few of MJ's vocals, the Billie Jean bits, on it. I guess this was made for a DJ kinda thing. For the rest of the world we'll take MJ's peerless vocals as well as those amazing instrumental passages thanks very much.

As a sidebar: I came across this version of the song a few years ago on a CD compilation of Eighties Anthems by some outfit called Clubhouse. It's a mash up between Steely Dan's Do It Again and Billie Jean and it works really well!



Outside of this the most widely celebrated 'live' version of this song is MJ's famous Motown 25th anniversary performance and it would be against some sort of musical law of the universe not to include it here.

Here in this prison of my own making (Deep Purple)

Mojo had a special feature on the 100 best music movies recently and The Warehouse was having a huge sale of DVDs. I managed to pick up a load of music DVDs, many of which overlapped with the Mojo list, for very reasonable prices.

Some like Deep Purple's Come Hell Or High Water will never be on a best of list. It's the 1993 reunion band filmed in England. The set list is skewed towards the album they were touring behind - the bombastic The Battle Rages On but Ritchie is there with the rest of the Mark II purps. Jon Lord is in fine form, as is Ian Paice on the drums.

Ritchie is in a moody mood - for some reason he has a spazz during the opening number Highway Star and upsets the applecart. For the rest of the concert he plays with a grim intensity, only moving from his stage right position to duck backstage whenever the opportunity arises. At the end of the show he exits quickly stage right while the rest of the band take their time and all exit stage left. All very bizarre. Having said all that he still sounds brilliant and no one plays like he does. Steve Morse is a gifted guitarist but Ritchie is stone cold original, even when he's packing a sad.

The band interviews are interesting (Ritchie is naturally NOT featured). Each band member selects their favourite DP album. Ian Gillan goes for Fireball, Paicey goes for Made in Japan but the rest highlight In Rock. I prefer In Rock to Fireball but for me Machine Head is the ultimate DP album.