Quadraphonic SQ Deep Purple Gatefold "MACHINE HEAD" vinyl Album + Poster

	A$		36
	$		24

Quadraphonic SQ ~Deep Purple~Gatefold "MACHINE HEAD" vinyl Album + Poster. Grading VG+~visual grading of vinyl 8.5-9/10   (plays & sounds great !!)~SQ4. Cover nicely free of names & splits etc......grading 8.5/10  .And just as a side note~how good was this original Deep Purple line up ( especially that  classic late 60s/early 70s driving organ work by Jon Lord!!)

DEEP PURPLE

"Machine Head "is the sixth studio album recorded by the English hard rock band Deep Purple, it was  released 1972. Machine Head is often cited as a major influence in the early development of the heavy metal music genre.

Aussie pressing 1972 Quadrophonic Q4TPSA 7504 gatefold sleeve with lyric insert

the vinyl is vg condition ( plays & sounds great~ just a few light surface marks to report)

Formation of Deep Purple[edit]

In early 1967, through his roommate Chris Curtis of the Searchers, Lord met businessman Tony Edwards who was looking to invest in the music business alongside partners Ron Hire and John Coletta (HEC Enterprises). Session guitarist Ritchie Blackmore was called in and he met Lord for the first time, but Chris Curtis's erratic behaviour led the trio nowhere. Edwards was impressed enough by Jon Lord to ask him to form a band after Curtis faded out. Simper was contacted, and Blackmore was recalled from Hamburg. Although top British player Bobby Woodman was the first choice as drummer, during the auditions for a singer, Rod Evans of "The Maze" came in with his own drummer, Ian Paice. Blackmore, who had been impressed by Paice's drumming when he met him in 1967, set up an audition for Paice as well. The band was called the "Roundabout" at first and began rehearsals at Deeves Hall in Hertfordshire. By March 1968, this became the "Mark 1" line-up of "Deep Purple": Lord, Simper, Blackmore, Paice, and Evans. Lord also helped form the band "Boz" with some of its recordings being produced by Derek Lawrence. "Boz" included Boz Burrell (later of King Crimson and Bad Company), Blackmore (guitarist), Paice (drummer), Chas Hodges (bass guitarist).[citation needed]

Deep Purple[edit]

1968–1970[edit]

It was in these three years that Lord's trademark keyboard sound emerged. Ignoring the emergence of the Moog synthesizer, as pioneered in rock by such players as Keith Emerson, Lord began experimenting with a keyboard sound produced by the Hammond organ by driving it through Marshall speakers in an effort to match the attack and volume of Blackmore's guitar. Lord's version was heavier than a blues sound, and it often featured distortion and a far harder, industrial type sound that became the trademark Jon Lord organ sound, admired by fans and peers alike but rarely replicated. Both Emerson and Rick Wakeman publicly expressed admiration for Lord's mould-breaking work on the organ. This delivered a rhythmic foundation to complement Blackmore's speed and virtuosity on lead guitar. Lord also loved the sound of an RMI 368 Electra-Piano and Harpsichord, which he used on such songs as "Demon's Eye" and "Space Truckin'". In 1973 Lord's original Hammond C3 gave out and he purchased another from Christine McVie of Fleetwood Mac. Also around this time, Lord and his keyboard technician, Mike Phillips, combined his Hammond C3 Organ with the RMI. (Lord kept this particular Hammond C3 until his retirement from the band in 2002, when he passed it to successor Don Airey. That instrument has since been retired from stage use, given its now dilapidated condition).[citation needed]

Lord pushed the Hammond-Leslie sound through Marshall amplification, creating a growling, heavy, mechanical sound which allowed Lord to compete with Blackmore as a soloist, with an organ that sounded as prominent as the lead guitar. Said one reviewer, "many have tried to imitate [Lord's] style, and all failed."[7] Said Lord himself, "There's a way of playing a Hammond [that's] different. A lot of people make the mistake of thinking that you can play a Hammond with a piano technique. Well, you can, but it sounds like you are playing a Hammond with a piano technique. Really, you have to learn how to play an organ. It's a legato technique; it's a technique to achieve legato on a non-legato instrument."[8] In early Deep Purple recordings, Lord had appeared to be the leader of the band, though it never made chart success in the UK until the Concerto for Group and Orchestra album (1970). Lord's willingness later to play many of the key rhythm parts gave Blackmore the freedom to let loose both live and on record. On Deep Purple's second and third albums, Lord began indulging his ambition to fuse rock with classical music. An early example of this is the song "Anthem" from the album The Book of Taliesyn (1968), but a more prominent example is the song "April" from the band's self-titled third album (1969). The song is recorded in three parts: 1. Lord and Blackmore only, on keyboards and acoustic guitar, respectively; 2. an orchestral arrangement complete with strings; and 3. the full rock band with vocals. Lord's ambition enhanced his reputation among fellow musicians, but caused tension within the group. Blackmore agreed to go along with Lord's experimentation, provided he was given his head on the next band album.[7]

The resulting Concerto For Group and Orchestra (in 1969) was one of rock's earliest attempts to fuse two distinct musical idioms. Performed live at the Royal Albert Hall on 24 September 1969 (with new band members Ian Gillan and Roger Glover, Evans and Simper having been fired), it was recorded by the BBC and later released as an album. The Concerto gave Deep Purple its first highly publicised taste of mainstream fame and gave Lord the confidence to believe that his experiment and his compositional skill had a future, as well as giving Lord the opportunity to work with established classical figures, such as conductor Sir Malcolm Arnold, who brought his skills to bear by helping Lord realise the work and to protect him from the inevitable disdain of the older members of the orchestra.[citation needed]

1970–1976[edit]

Purple began work on Deep Purple in Rock, released by their new label Harvest in 1970 and now recognised as one of hard rock's key early works. Lord and Blackmore competed to out-dazzle each other, often in classical-style, midsection 'call and answer' improvisation (on tracks like "Speed King"), something they employed to great effect live. Ian Gillan said that Lord provided the idea on the main organ riff for "Child in Time" although the riff was also based on It's a Beautiful Day's 1969 psychedelic hit song "Bombay Calling".[9] Lord's experimental solo on "Hard Lovin' Man", (complete with police-siren interpolation) on the album was his personal favourite among his Deep Purple studio performances.

Deep Purple released a sequence of albums between 1971's Fireball and 1975's Come Taste the Band. Gillan and Glover left in 1973 and Blackmore in 1975, and the band disintegrated in 1976. The highlights of Lord's Purple work in the period include the 1972 album Machine Head (featuring his rhythmic underpinnings on "Smoke on the Water" and "Space Truckin'", plus the organ solos on "Highway Star" and "Lazy"), the sonic bombast of the Made in Japan live album (1972), an extended, effect-laden solo on "Rat Bat Blue" from the Who Do We Think We Are album (1973), and his overall playing on the Burn album from 1974. Roger Glover would later describe Lord as a true "Zen-archer soloist", someone whose best keyboard improvisation often came at the first attempt. Lord's strict reliance on the Hammond C3 organ sound, as opposed to the synthesizer experimentation of his contemporaries, places him firmly in the jazz-blues category as a band musician and far from the progressive-rock sound of Keith Emerson and Rick Wakeman. Lord rarely ventured into the synthesizer territory on Purple albums, often limiting his experimentation to the use of the ring modulator with the Hammond, to give live performances on tracks like Space Truckin' a distinctive 'spacey' sound. Instances of his Deep Purple synthesizer use (He became an endorser of the ARP Oyssey) include "'A' 200", the final track from Burn, and "Love Child" on the Come Taste the Band album.[citation needed]

In early 1973 Lord stated:

We're as valid as anything by Beethoven. (NME, March 1973[10])

DEEP PURPLE

"Machine Head "is the sixth studio album recorded by the English hard rock band Deep Purple, it was  released 1972. Machine Head is often cited as a major influence in the early development of the heavy metal music genre.

Aussie pressing 1972 Quadrophonic Q4TPSA 7504 gatefold sleeve with lyric insert

the vinyl is vg condition ( plays & sounds great~ just a few light surface marks to report) and the cover is vg++

8/10 VG

7.5/10 VG-

7/10 Good

6/10 Fair

5/10 Poor

"MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint. = 10/10

EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and / or creasing. ( or NEAR MINT= 9/10)

VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable. ( 8/10 OR 8.5/10 IF VG+)

GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc. (7/10)

FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and / or defaced. (6/10)