Hush Review by Joe Viglione
Deep Purple's phenomenal version of "Hush", written by country/pop songwriter Joe South, took the Vanilla Fudge style of slowing a song down and bluesing it up another step, venturing into the domain of psychedelic heavy metal. Covered by Kula Shaker in the 1997 film I Know What You Did Last Summer other versions were recorded by Billy Joe Royal, Gotthard , former Ritchie Blackmore lead vocalist Joe Lynn Turner on his 1997 Under Cover album of song interpretations and even John Mellencamp. But once the tune received this rendition's indellible stamp no one could touch it again, not even the songwriter. South's
lyrics are highly suggestive, beyond Van Morrison's "Gloria", straight into Louie, Louie" territory with: "She's got a loving like quicksand... It blew my mind and I'm in so deep/That I can't eat, y'all, and I can't sleep." Or as Aimee Mann sang, hush hush because voices carried this one right by the censors with Jon Lord's quagmire of thick chaotic keyboard sound meshed with Ritchie Blackmore's guitar. Tetragrammaton Records single #1503 went Top 5 in August of 1968, 4:11 as originally released on the Shades Of Deep Purple album, 4:26 on Rhino's 2000 reissue The Very Best Of Deep Purple. Imagine a fuzz box on the organ in a church cathedral to get the intensity of the opening chords, a sound stolen less than two years later by Detroit's Frijid Pink with their rendition of "House Of The Rising Sun". Frijid Pink, however, couldn't get the intense rhythmic nuances of original bassist Nic Simper and drummer Ian Paice, not to mention Rod Evans haunting vocal. "Smoke On The Water" equaled this song's chart position five years later, and might have made a bigger impact, but there's no denying that Deep Purple in its original progressive pop form was a far more dynamic and literate band. "Hush" remains their most cosmic moment, a truly unique blend of converging 60's styles preferable to connoisseurs of stuff that found itself on the Nuggets compilation lp. This track was conspicuous in its absence.
The Book of Taliesyn Review by Joe Viglione
Several months after the innovative remake of "You Keep Me Hanging On," England's answer to Vanilla Fudge was this early version of Deep Purple, which featured vocalist Rod Evans, and bassist Nick Simper, along with mainstays Ritchie Blackmore, Jon Lord, and Ian Paice. This, their second album, followed on the heels of "Hush," a dynamic arrangement of a Joe South tune, far removed from the flavor of one of his own hits, "Walk a Mile in My Shoes." Four months later, this album's cover of Neil Diamond's Top 25, 1967 gem "Kentucky Woman," went Top 40 for Deep Purple. Also like Vanilla Fudge, the group's own originals were creative, thought-provoking, but not nearly as interesting as their take on cover tunes. Vanilla Fudge did "Eleanor Rigby," and Deep Purple respond by going inside "We Can Work It Out" -- it falls out of nowhere after the progressive rock jam "Exposition," Ritchie Blackmore's leads zipping in between Rod Evans smooth and precise vocals. As Vanilla Fudge was progressively leaning more towards psychedelia, here Deep Purple are the opposite. The boys claim to be inspired by the Bard of King Arthur's court in Camelot, Taliesyn. John Vernon Lord, under the art direction of Les Weisbrich, paints a superb wonderland on the album jacket, equal to the madness of Hieronymous Bosch's cover painting used for the third album. Originals "The Shield" and "Anthem" make early Syd Barrett Pink Floyd appear punk in comparison. Novel sounds are aided by Lord's dominating keyboards, a signature of this group.
Though "The Anthem" is more intriguing than the heavy metal thunder of Machine Head, it is overwhelmed by the majesty of their "River Deep, Mountain High" cover, definitely not the inspiration for the Supremes and Four Tops 1971 hit version. By the time 1972 came around, Deep Purple immersed themselves in dumb lyrics, unforgettable riffs, and a huge presence, much like Black Sabbath. The evolution from progressive to hard rock was complete, but a combination of what they did here -- words that mattered matched by innovative musical passages -- would have been a more pleasing combination. Vanilla Fudge would cut Donovan's "Season of the Witch," Deep Purple followed this album by covering his "Lalena"; both bands abandoned the rewrites their fans found so fascinating. Rod Evans' voice was subtle enough to take "River Deep, Mountain High" to places Ian Gillam might have demolished.
- From Welsh tal (brow/forehead) and iesin (radiant/shining).
- The legendary bard Taliesin, a wise poet of Sub-Roman Britain, a master of transformation, and Chief of Bards (Taliesin Ben Beirdd).
- The name of his home in Wisconsin, built on a hill, reflecting his Welsh roots and the "brow" of the landscape.
- Represents wisdom, creativity, inspiration, and a connection to ancient Celtic culture and imagination.
- The name evokes a connection to Welsh heritage, epic poetry, and legendary figures like King Arthur.
- https://en.wikipedia.org/wiki/Shades_of_Deep_Purple
- Viglione, Joe. "Deep Purple Hush review". Allmusic. Rovi Corporation. Retrieved 28 December 2013.
- Deep Purple: Rod Evans (vocals); Ritchie Blackmore (guitar); Jon Lord (keyboards); Nicky Simper (bass); Ian Paice (drums). Several months after the innovative remake of "You Keep Me Hanging On," England's answer to Vanilla Fudge was this early version of Deep Purple, which featured vocalist Rod Evans, and bassist Nick Simper, along with mainstays Ritchie Blackmore, Jon Lord, and Ian Paice. This, their second album, followed on the heels of "Hush," a dynamic arrangement of a Joe South tune, far removed from the flavor of one of his own hits, "Walk a Mile in My Shoes." Four months later, this album's cover of Neil Diamond's Top 25, 1967 gem "Kentucky Woman," went Top 40 for Deep Purple. Also like Vanilla Fudge, the group's own originals were creative, thought-provoking, but not nearly as interesting as their take on cover tunes. Vanilla Fudge did "Eleanor Rigby," and Deep Purple respond by going inside "We Can Work It Out" -- it falls out of nowhere after the progressive rock jam "Exposition," Ritchie Blackmore's leads zipping in between Rod Evans smooth and precise vocals. As Vanilla Fudge was progressively leaning more towards psychedelia, here Deep Purple are the opposite. The boys claim to be inspired by the Bard of King Arthur's court in Camelot, Taliesyn. John Vernon Lord, under the art direction of Les Weisbrich, paints a superb wonderland on the album jacket, equal to the madness of Hieronymous Bosch's cover painting used for the third album. Originals "The Shield" and "Anthem" make early Syd Barrett Pink Floyd appear punk in comparison. Novel sounds are aided by Lord's dominating keyboards, a signature of this group. Though "The Anthem" is more intriguing than the heavy metal thunder of Machine Head, it is overwhelmed by the majesty of their "River Deep, Mountain High" cover, definitely not the inspiration for the Supremes and Four Tops 1971 hit version. By the time 1972 came around, Deep Purple immersed themselves in dumb lyrics, unforgettable riffs, and a huge presence, much like Black Sabbath. The evolution from progressive to hard rock was complete, but a combination of what they did here -- words that mattered matched by innovative musical passages -- would have been a more pleasing combination. Vanilla Fudge would cut Donovan's "Season of the Witch," Deep Purple followed this album by covering his "Lalena"; both bands abandoned the rewrites their fans found so fascinating. Rod Evans' voice was subtle enough to take "River Deep, Mountain High" to places Ian Gillam might have demolished. ~ Joe Viglione
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