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Customer Reviews
Most Helpful Customer Reviews
10 of 14 people found the following review helpful
Format:Audio CD
This CD is an absolute must have. First of all because the performance is excellent, with probably the best version of Mandrake Root ever, and a great Wring That Neck too. And secondly because the sound quality, although being a bootleg recording, is very very good.
DP played the Aachen festival in July 70 when they were not yet very famous and were pleased to show how good musicians they were. On that day, JL was in great form and played incredibly, being very well inspired with some awsome solos during Wring That Neck and Mandrake Root. And this was the time when they were all playing together as a group, and this you can feel it here, something which was no more the case some two years later.
So again, this is an absolute must have for all DP Mk II fans. A great CD.
DP played the Aachen festival in July 70 when they were not yet very famous and were pleased to show how good musicians they were. On that day, JL was in great form and played incredibly, being very well inspired with some awsome solos during Wring That Neck and Mandrake Root. And this was the time when they were all playing together as a group, and this you can feel it here, something which was no more the case some two years later.
So again, this is an absolute must have for all DP Mk II fans. A great CD.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
5 reviews
10 of 11 people found the following review helpful
Deep Purple - 'Live In Aachen,1970' (Purple)
29 Jan 2007
Format:Audio CD
Nicely assembled legit release of a vintage Deep Purple concert, that was originally put in circulation as a bootleg (I assume). Show took place on July 10, 1970 in Aachen, Germany. Only four songs here. I get the idea this gig is incomplete. That's okay. Major upside is that Jon Lord's keyboard playing (for this show,anyway) is phenomenal. My favorite cuts here are their Stones cover "Paint It Black" and the thirty-minute closer "Mandrake Root". A should-have.
5 of 6 people found the following review helpful
A strange Fellini like mad dark dream of a recording
16 Nov 2006
Format:Audio CD
Recorded live in Aachen, Germany in July 1970 when Deep Purple's album "In Rock" was the hottest album in the land and everyone knew they were the band to see live.
This long overdue disc of the classic bootleg H-BOOM, is an overpowering and strange Fellini like mad dark dream which has been obtained via bootleg sources. Basically what we have here is a taping from the second half of the concert, which meant their lead singer Ian Gillan disappeared for the most part, because it was time to emphasize the instrumental side of Deep Purple. There are only four tracks here, but they are lengthy, with Mandrake Root being over thirty minutes long. Gillan does sing at the start and then moves over to the congas for the remainder. He also sings on the encore Black Night, but the vocals throughout are pretty overloaded, but the instruments aren't. If you are into ROCK JAZZ, with heavy emphasis on instrumental, you are in for the ride of your life. Keyboardist Jon Lord is the main star here, but Blackmore isn't far behind and also drummer Ian Paice is on fire, including a good drum solo, which coming from somebody who gets bored with drum solos, so that`s saying a lot.
Again, this is an overpowering strange Fellini like mad dark dream of a recording and should be heard to believed. Highly recommended.
This long overdue disc of the classic bootleg H-BOOM, is an overpowering and strange Fellini like mad dark dream which has been obtained via bootleg sources. Basically what we have here is a taping from the second half of the concert, which meant their lead singer Ian Gillan disappeared for the most part, because it was time to emphasize the instrumental side of Deep Purple. There are only four tracks here, but they are lengthy, with Mandrake Root being over thirty minutes long. Gillan does sing at the start and then moves over to the congas for the remainder. He also sings on the encore Black Night, but the vocals throughout are pretty overloaded, but the instruments aren't. If you are into ROCK JAZZ, with heavy emphasis on instrumental, you are in for the ride of your life. Keyboardist Jon Lord is the main star here, but Blackmore isn't far behind and also drummer Ian Paice is on fire, including a good drum solo, which coming from somebody who gets bored with drum solos, so that`s saying a lot.
Again, this is an overpowering strange Fellini like mad dark dream of a recording and should be heard to believed. Highly recommended.
1 of 1 people found the following review helpful
Not top notch but has its moments
10 Mar 2011
Format:Audio CD
It's certainly not as good as Stockholm the previous year (but then, what is?) - but it's certainly better than the Montreux disc in the same series.
The band were battling against festival time constraints - and the interesting thing is that Jon Lord was allowed to be the dominant soloist. Or was there a fight for solo space going on: a fixed fight with Ritchie as the loser?
Motivated by the festival setting, Jon's in his aggressive Emerson-esque mode all the way through. Fortunately he hasn't forgotten how to construct a solo - so the pitch-bends and power-chords never sound like mere showing-off. The downside is: it sounds like Ritchie had been struck by inspiration and didn't have a chance to utilise it.
"Wring That Neck": after the initial trade-offs, and Jon's first funky solo, the guitarist brings the volume down, always a sign of interesting things to come. Unfortunately we barely get two minutes of them - a mini-solo and an equally brief stop-time section (where Roger gets his two cents in). Then it's time for Jon's cadenza - initially maintaining the tempo, then zooming off into outer space (his fellow astronauts: Greig, Gershwin and three blind mice, all called Ray by the sound of it!) A Ritchie cadenza might have been brilliant tonight, but it's virtually non-existent: a few familiar licks but before you know it it's Jingle Bells and out.
"Black Night": Gillan's only vocal of the night. The sleeve suggests he had voice troubles, but you'd never guess. It's also the only time we get to hear Ritchie really playing like we know he can.
"Paint It Black": another reminder of Paice's superiority as a soloist. No padding here, no unnecessary repetition or crowd-pleasing stunts (hear that, Ginger and Carl?)
Epic number two, "Mandrake Root" has both soloists at their most evil. But again, Jon and his fuzztone dominate the track: his long solo isn't exactly melodically inventive but it shows Ritchie a thing or two about how to do heaviness. Appropriately, Ritchie soon brings the volume down again: contrast and relief. Trouble is, he can barely get a phrase in edgeways: Jon is still dominant. Ritchie, anxious to reclaim the spotlight, resorts to desperate measures: amplifier wreckage. But it's an own goal: one listens through the guitar noise to the rhythm section...and the organ!
The band were battling against festival time constraints - and the interesting thing is that Jon Lord was allowed to be the dominant soloist. Or was there a fight for solo space going on: a fixed fight with Ritchie as the loser?
Motivated by the festival setting, Jon's in his aggressive Emerson-esque mode all the way through. Fortunately he hasn't forgotten how to construct a solo - so the pitch-bends and power-chords never sound like mere showing-off. The downside is: it sounds like Ritchie had been struck by inspiration and didn't have a chance to utilise it.
"Wring That Neck": after the initial trade-offs, and Jon's first funky solo, the guitarist brings the volume down, always a sign of interesting things to come. Unfortunately we barely get two minutes of them - a mini-solo and an equally brief stop-time section (where Roger gets his two cents in). Then it's time for Jon's cadenza - initially maintaining the tempo, then zooming off into outer space (his fellow astronauts: Greig, Gershwin and three blind mice, all called Ray by the sound of it!) A Ritchie cadenza might have been brilliant tonight, but it's virtually non-existent: a few familiar licks but before you know it it's Jingle Bells and out.
"Black Night": Gillan's only vocal of the night. The sleeve suggests he had voice troubles, but you'd never guess. It's also the only time we get to hear Ritchie really playing like we know he can.
"Paint It Black": another reminder of Paice's superiority as a soloist. No padding here, no unnecessary repetition or crowd-pleasing stunts (hear that, Ginger and Carl?)
Epic number two, "Mandrake Root" has both soloists at their most evil. But again, Jon and his fuzztone dominate the track: his long solo isn't exactly melodically inventive but it shows Ritchie a thing or two about how to do heaviness. Appropriately, Ritchie soon brings the volume down again: contrast and relief. Trouble is, he can barely get a phrase in edgeways: Jon is still dominant. Ritchie, anxious to reclaim the spotlight, resorts to desperate measures: amplifier wreckage. But it's an own goal: one listens through the guitar noise to the rhythm section...and the organ!
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