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Deep Purple: Who do we Think we are

 A l b u m   D e t a i l s

Artist: Deep Purple
Title: Who do we Think we are
Released: 1973
Label: EMI Records
Time: 72:33
Producer(s): See Artists ...
Appears with: Ritchie Blackmoore
Category: Rock
Rating: ******.... (6/10)
Media type: CD
Purchase date:  2007.07.10
Price in €: 4,99
Web address: www.deep-purple.com

 S o n g s ,   T r a c k s


[1] Woman from Tokyo (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 5:48
[2] Mary Long (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 4:23
[3] Super Trouper (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 2:54
[4] Smooth Dancer (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 4:08
[5] Rat Bat Blue (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 5:23
[6] Place in Line (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 6:29
[7] Our Lady (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 5:12

Bonus Tracks:
[8] Woman from Tokyo ['99 Remix] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 6:37
[9] Woman from Tokyo [alt. bridge] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 1:24
[10] Painted Horse [Studio Ou-Take] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 5:19
[11] Our Lady ['99 Remix] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 6:05
[12] Rat Bat Blue [writing session] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 0:57
[13] Rat bat Blue ['99 Remix] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 5:49
[14] First Day jam [instrumental] (R.Blackmore/I.GIllan/R.Glover/J.Lord/I.Paice) - 11:31
 

 A r t i s t s ,   P e r s o n n e l


Ritchie Blackmore - Guitar, Producer
Ian Gillan - Vocals, Producer
Roger Glover - Synthesizer, Bass, Mixing, Cover Design, Producer
Jon Lord - Organ, Piano, Keyboards, Producer
Ian Paice - Drums, Mixing, Producer

Martin Birch - Engineer
Kevin L. Gray - Original Mastering
Steve Hoffman - Mastering
Robert Cooksey - Equipment Technician
John Coletta - Cover Design
Fin Costello - Photography, Cover Photo
James Burke - Consultant, Photo Consultant
Tony Edwards - Research
 

 C o m m e n t s ,   N o t e s


1973 LP Warner Bros. 2-2678
1973 CS Warner Bros. M5-2678
1995 CD EMI 7482732
2005 CD Audio Fidelity 2027
2006 CD WEA Japan 12257

1973 album for EMI, a top 20 release in the U.S. album charts. Nine tracks featuring the line up of Blackmore, Coverdale, Hughes, Lord & Paice, including 'Stormbringer' & 'Lady Double Dealer'.

All tracks have been digitally remastered.
After establishing itself as a hard-rock giant, thanks to endless touring and the release of such milestone records as MACHINE HEAD and IN ROCK, Deep Purple was in a state of turmoil when it went into the studio to record 1972's WHO DO WE THINK WE ARE? Despite all the infighting, the band pulled together long enough to record seven tracks that only bolstered the band's reputation.
The best-known song, "Woman From Tokyo," boasted a riff as memorable as the one that defined "Smoke on the Water" and was later admitted by Ritchie Blackmore to have been cribbed from Eric Clapton's "Cat Squirrel." Although Blackmore's always-impressive riffing stands out on such songs as "Mary Long" and "Place in Line," this album also spotlights how far Jon Lord's contributions on organ went toward defining the band's sound. Lord's mastery was such that in addition to the impressive solos on "Place in Line," his sweeping runs are the highlight of the stop-and-go "Rat Bat Blue." On this roller coaster ride of an album, the members of Deep Purple come together best on "Our Lady," a five-minute-plus epic driven by Lord's churning organ and Ian Gillan's Wagnerian vocals.Digitally remastered reissue featuring 7 bonus tracks, 'Woman From Tokyo' ('99 remix & Alt. Bridge), 'Painted Horse' (Studio Outtake), 'Our Lady' ('99 remix), 'Rat Bat Blue' (Writing session & '99 remix) & 'First Day Jam' (Instrumental). 2002.



Deep Purple had kicked off the '70s with a new lineup and a string of brilliant albums that quickly established them (along with fellow British giants Led Zeppelin and Black Sabbath) as a major force in the popularization of hard rock and heavy metal. All the while, their reputation as one of the decade's fiercest live units complemented this body of work and earned them almost instant legendary status. But with 1973's disappointing Who Do We Think We Are -- the fourth and final studio outing by the original run of Purple's classic Mark II lineup -- all the fire and inspiration that had made the previous year's Machine Head their greatest triumph mysteriously vanished from sight. Vastly inferior to all three of its famous predecessors, the album revealed an exhausted band clearly splintering at the seams. Except for opener "Woman From Tokyo," which hinted at glories past with its signature Ritchie Blackmore riff, the album's remaining cuts are wildly inconsistent and find the band simply going through the motions. In fact, many of these don't so much resemble songs as loose jam sessions quickly thrown together in the studio with varying degrees of enthusiasm. "Mary Long" and "Super Trouper" are prime examples, featuring generic solos from Blackmore and organist Jon Lord, and uncharacteristically inane lyrics from soon-to-be former singer Ian Gillan. With its start-stop rhythm and Gillan's fine scat singing, the energetic "Rat Bat Blue" is a memorable exception to the rule, but the yawn-inducing blues of "Place in the Line" and the gospel mediocrity of "Our Lady" bring the album to a close with a whimper rather than a shout. [A painfully revealing display of a legendary band grinding to a halt, Who Do We Think We Are was reissued in 2000 with the added incentive of seven bonus tracks and new liner notes by bassist Roger Glover].

Ed Rivadavia - All Music Guide



Anfang der Siebziger hauten Deep Purple mit In Rock ('70), Fireball ('71) und Machine Head ('72) in fast schon erschreckend kurzen Abständen drei unsterbliche Klassikeralben raus und packten mit dem '72er Live-Album Made In Japan noch einen der legendärsten Konzertmitschnitte der Hardrockgeschichte obendrauf. Danach war in kreativer wie personeller Hinsicht allerdings erst mal der Ofen aus. Gitarrist Ritchie Blackmore spielte sich immer mehr als Diktator auf, Sänger Ian Gillan hatte kaum noch zu verbergende Alkoholprobleme, und die Bandchemie näherte sich jenem Zustand, bei dem die versammelten Elemente mit voller Wucht auseinanderdriften. Who Do We Think We Are ('73) hört man die damals immer akuter werdenden Probleme leider an. Der Opener "Woman From Tokyo" ist ein weiterer Purple-Hit von Weltklasse-Format, doch danach folgt "nur" noch gutes Mittelmaß. Der Dampf ist raus, die Helden sind müde, das klassische Deep Purple-Line-up hat sich überlebt.

Michael Rensen - Amazon.de


Jeez, what an unsettling album! For the life of Reilly I can't understand how Deep Purple evidently lost the macho glory which made their In Rock LP such an Owsleyan mindfuck. Now that was an album—its kamikaze guitar and organ runs sped toward insanity with blazing intensity. It was rather melodic, too, for those who keep track of such things. The group's tried thrice to renew the assault on the senses, but each time they've come off like a fouled imitation of their earlier selves. Worse still, each outing displays less of the banzai spirit that once had critics crying asshole things like "power to the purple."
mn tired in spots that it's downright disconcerting. Now you might think it's impossible for a bunch of heavy-metal mashers to sound like they've ODed on Sominex, but rest assured, this album will prove you wrong. Remember the two-stage construction of DP's earlier boogie beasts—songs like "Speed King," "Flight of the Rat," and "Hard Lovin' Man"? And how the basic bitch of a riff served only as a launching pad for the Blackmore-Lord flights to musical nirvana? Don't waste any time looking for anything nearly as awe-inspiring here; the band seems to just barely summon up enough energy to lay down the rhythm track, much less improvise. Can metal-men have iron-poor blood?
"Get more specific," you're probably yelling by now. Okay, let's take "Woman From Tokyo," which a Kinney corporal informed me "would put Deep Purple over the top." It starts out nicely enough with lots of Yardbirdian instrumental interplays, then moves on to a meaty riff. After that, it's strictly Flounder City—no development, no direction, damnit, not even any flash. It's more or less one massive riff lumbering along—Bull Angus gone berserk, if you will "Mary Long" isn't much different, though Blackmore does at least get to take a perfunctory solo. Funny, but for such an admitted superstar (the liner notes are full of quotes like "I think I could wipe the floor up with most guitarists"). Ritchie seems conspicuously subdued here Could it possibly have something to do with the fact that bassist Roger Glover and drummer Ian Paice mixed the sound? Ah, the fragile egos of rock musicians!
Now if I really wanted to get picky, I could point to the "join the crowd" moog solo on "Rat Bat Blue." What a cliched instrument the synthesizer has turned out to be—even boogie monsters like TYA's Chick Churchill are playing around with it. And speaking of Churchill, Lord manages to sound just like him on the Purple blooze, otherwise known as "Place In Line." It's sorta like a sound sleep imitating a coma. And then (then) there's "Smooth Dancer," where they rhyme "dancing" with "pregnancy" in a chauvinistic power play that curdled every drop of Women's Lib blood in my veins.
Well, at least "Super Trouper" ain't half bad, but how can you possibly fault a song with such a nifty title? For that matter, how can you slam a group that makes an album like In Rock? It's easy when their three follow-ups get you wondering if it's the same group—real easy. (RS 132)

ANN CHEAUVY - Rolling Stone (Apr 12, 1973)

  

 L y r i c s


Woman From Tokyo   

Fly into the rising sun,
Faces, smiling everyone
Yeah, she is a whole new tradition
I feel it in my heart

My woman from Tokyo
She makes me see
My woman from Tokyo
She's so good to me

Talk about her like a Queen
Dancing in a Eastern Dream
Yeah, she makes me feel like a river
That carries me away

My woman from Tokyo
She makes me see
My woman from Tokyo
She's so good to me

But I'm at home and I just don't belong ...

So far away from the garden we love
She is what moves in the soul of a dove
Soon I shall see just how black was my night
When we're alone in Her City of light

Rising from the neon gloom
Shining like a crazy moon
Yeah, she turns me on like a fire
I get high

My woman from Tokyo
She makes me see
My woman from Tokyo
She's so good to me


Mary Long   

Mary Long is a hypocrite
She does all the things that she tells us not to do
Selling filth from a corner shop
And knitting patterns to the high street queue
She paints roses, even makes them smell good
And then she draws titties on the khazy wall
Drowns kittens just to get a thrill
And writes sermons in the Sunday Chronicle

How did you lose your virginity, Mary Long ?
When will you lose your stupidity, Mary Long ?

Mary told Johnny not to write such trash
Said it was a waste of public money
She made a fuss, they made apologies
But everybody thought the show was funny
When the nation knew you'd had children
It came as such a surprise
We really didn't know you'd had it in you
How you did it we can only surmise

How did you lose your virginity, Mary Long ?
When will you lose your stupidity, Mary Long ?

Mary Long, you're not alone
But you're a long way behind our times
What we do in full frontal view
Is more honest than your clean-up mind
What I'm saying, Mary Long is
When you can spare a minute
Go find your friend the porny Lord
Dig your self a hole and jump in it

How did you lose your virginity, Mary Long ?
When will you lose your stupidity, Mary Long ?


Super Trouper   

I was a young man when I died
I was a flash, I was full of pride
I gave it all, I gave my soul, I was so strong
I felt the truth, I felt the pain in every song

How well you know me
You've seen me cry
I'm just a shadow
In a rock and roll sky

I was living in a rock and roll sky
I was a king, heavy on the style
Super trouper, yes I know you well, making me shine
I couldn't see what you did to me. I was so blind

How well you know me
You've seen me cry
I'm just a shadow
In a rock and roll sky

I wanna be like I was before
But this time I'm gonna know the score
I need a home I can leave behind knowing you're there
Super trouper, I can see you now, return your stare

How well you know me
You've seen me cry
I'm just a shadow
In a rock and roll sky


Smooth Dancer   

Black suede, don't mean you're good for me
Black suede, just brings your mystery
I want to be inside of you
But you're black and I don't know what to do

You're a smooth dancer
But it's alright
Cos I'm a freelancer
And you can never break me though you try
To make me think you're magical

Baby, you're the one who can never see the sun
Because it don't shine nightly
Don't you look at me because I'm gonna shake free
You'd better hang on tightly
You wanna rule the world, but you're acting like a girl
Who's got a false pregnancy
You've swollen up inside with nothing but your pride
And yet you keep on dancing

Black suede, don't waste your time on me
Black suede, I sense your mockery
I tried to go along with you
But you're black and I know just what to do

You're a smooth dancer
But it's alright
Cos I'm a freelancer
And you can never break me though you try
To make me think you're magical

I think you're crazy, your two-timing ways
They don't bother me none
You'd better do it right because one day or night
I'm gonna walk to freedom
You know I loved you once and I wanna love again
But you don't give nothing
You can see it in my eyes so you've got to realize
Baby, I ain't bluffing

Black suede, don't waste your time on me
Black suede, don't bring me misery
I tried to be inside of you
But you're black and now I know what to do

You're a smooth dancer
But it's alright
Cos I'm a freelancer
And I can tell you're faking though you try
To make me think you're magical

Baby, you're the one who can never see the sun
Bacause it don't shine nightly
Don't you look at me because I'm gonna shake free
You'd better hang on tightly
You know I loved you once and I wanna love again
But you don't give nothing
You can see it in my eyes so you've got to realize
Baby, I ain't bluffing
Baby, you can rock'n'roll
But you can never show your soul, smooth dancer


Rat Bat Blue   

Hey baby, what you gonna do
When the lights go up on you ?
What's your name, can I drive you home ?
Sweet woman, are you all alone ?
You're the one for me
I'm gonna keep you busy as a bee, could bee, could be
Rat bat blue

Now, get up woman, don't be slow
It's getting late and I wanna go
No cause for acting big
Got to love, got to live
Stick around with me
I'm gonna show you things you never thought you'd see,
you see
Rat bat blue
You're so fine

Get out ! You didn't understand
I'm a hard loving man
No way you can satisfy
The way you look, the way you lie
And when you shut the door
Make sure I don't see you 'round here no more
Rat bat blue
Alright


Place In Line   

I'm living in this line
I know my place, could think of no way

Of edging along in a loser's race
The line was moving slowly
Day by night
Everybody's shuffling on to keep a place in the line

Nine long years I've been in line
Getting nowhere there is no reason
For this line I don't care.
Everybody's standing in the burning sun
Everybody's shuffling on keeping a place in the line

Don't you think we're gonna make it
We've got a place in line
We're gonna make it some time
Somehow


Our Lady   

Thinking out of line just to make the sun shine
Anyway I can be like you
Fighting with the truth
Trying to hide a fool in a fantasy
I'm dreaming, lay me down and take me now
Our Lady of the skies

Hiding in the sun like a loaded gun reality
Aiming high at my dream
But I can get along
She makes me strong, anyway
I'm dreaming and there is no other way
Our Lady of the skies

Flying in the sky with a bunch of high fidelity
I can hear your song
Offer me a ring just to show me your sincerity
I'm dreaming, let me go
Our Lady of the skies
 

 M P 3   S a m p l e s


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