December 7, 1996 - Memorial Hall, York Fairgrounds, York, PA.

     We arrived (three carloads) at York at 5:00 p.m., after a day of rain and cold temperatures. Deep Purple's motorhome was parked around back, but the band had not yet arrived. A few autograph hounds were already camped at the motorhome. I could hear the sound checks as I walked back to the front entrance where a line of about 20 people formed, 2 and 1/2 hours before the concert. I thought the line would be longer and I pondered going to TGI Fridays where the newsgroup was supposed to meet before the concert. I decided to wait in line instead. The building was a new addition to an old brick front structure. It was concrete and steel construction, about the size of a large airplane hanger, but not bad, as it was totally open on the inside with no pillars or obstructions. The show was scheduled to begin a 7:30, and there was no reserved seating. When the doors opened at 6:30 the fans moved quickly to one of three places: the restrooms, the souvenir table, or the front of the stage. I got my place at stage front (standing only) to position myself in front of Roger and I wanted to see Paicey's drum set layout. My objective was to view how he played "Hey Cisco" as mortal man cannot play the double bass as he can. Actually, Paicey uses a single bass with the second bass pedal extension.

     Promptly at 7:43 (mild sarcastic humor) the show started. The opener was a band called Wild T and the Spirit. A three piece band from Ottawa, they emulated Hendrix. Consisting of guitar, bass, and drums, they played a few numbers and did okay, but I tired quickly of them in anticipation of Deep Purple. For some reason the bass player pissed me off --- don't ask me. After the opening act, it seemed to take forever for the techies to set the sound and lighting again. I looked around and the hall was only about half full, but the fans present were pressed tightly around the 50 foot stage. An eternity passed when the lights finally dimmed and the crowd began to get vocal. No!! Another Zeppelin tune came on the P.A. system. Finally the P.A. was faded and the stage and hall went to total black.

     The opening chord of "Hush" was struck as full stage lighting revealed the band. The crowd gasped as we stood in the presence of one of the most influential rock bands in history. I won't go into the song line up as it is the same as the rest of the tour. Instead, I will review what I thought to be one of the most interesting examples of mass "hypnosis" I've ever witnessed.

     The crowd may have been just a little cold because of the opening band. (Aren't they supposed to warm ya up?) Concluding "Hush" the band received a warm ovation and scattered cheers. They immediately went into the rest of the set, with many fans wanting to see Steve handle the ax with at least the same fervor as our dearly departed man in black. All questions were answered with "Vavoom, Ted The Mechanic". The solo had Steve "chugging" the frets as fans were mesmerized by the fact that his fingers didn't start a friction fire. The smooth transitions from one song to the next left little time for the fans to show appreciation. The early songs in the show were recognizable and appreciated by the steadfast true fans, but many in attendance were new to Deep Purple. My wife spoke with a 10 year old boy. His dad insisted he come to the show. When the band went into "Woman From Tokyo" the crowd went totally under Deep Purple's spell. At the end of the song, the band received cheers and wild applause. At this point in the show, the audience was captivated.

     I've seen Deep Purple many times, but this show was different. The band formerly "came off" as unapproachable and cold. Technically superior musical talent and studio work made this acceptable to me. The Pupendicular Tour is different. The band truly enjoyed themselves up there as I witnessed smiles and sincerity from each band member. Yes, even Jon looked like he was having a ball as he churned out steaming licks from the Hammond that we know as a true part of his being. Steve and Roger would get together and do a choreographed move that reminded me of "Paul Revere and the Raiders", and they dug it. The band dug it. The crowd dug it. There were no tense moments. Big Ian wrapped the crowd around his finger and played with them. The crowd played back. It seemed that during the show, each band member visited another during a song and played riffs and teased. Total captivation. Big Ian was moving around the stage like a 30 year old, playing the audience from each area of the stage front. The band displayed versatility as Steve played a range of sound that burst into audio visual. Haunting melody, to insane fret runs, to ocean sounds. "The Aviator" is a wonderful new direction and amplifies the band's talent.

     This will sound crazy to most of you, but the song that really struck me was the one I least expected to impress me at all. When the band played SOTW, I was in heaven. Please, hear me out, I'm very serious here. The band puts this song in every show because it is an anthem. They've played it thousands of times. It always gets good air-play on radio. Everyone expects it. I couldn't imagine it could be played with any more excitement than we've already heard, time and time before. When Steve broke into the opening familiar chord progression, I got chills. The band played this standard with all the energy of any song in the set. I couldn't believe my ears. How could the band still emote the feeling? This was impossible, but I was not the only fan that was caught up with this energy. Deep Purple fans, young and old, new and enduring, moved and cheered and loved it. I was awestruck.

     One of the encore pieces was "Hey Cisco". Did Paicey play the double? I forgot about him being a "lefty" so I was a little out of position, but the thundering tempo of the song left little doubt. I observed both knees bouncing behind the single bass drum and the high- hat was not clamming. The thing is that the snare beat he uses with the consistent double bass is impossible to play. The backbeat snare is played a shade early (purposely) and, as a drummer myself, I've concluded that this is not humanly possible. The only explanation is that Mr. Ian Paice is a machine. I've seen a lot of reviews and articles written about each band member, and so many times I wonder why Paicey seems neglected. The cymbal work on Rosa's Cantina, along with another half-step beat is more testimony to his incredible talent. I have been in awe of his drumming since I first saw him play "Mandrake Root" in a place called "The Warehouse" ( I think) in Providence, Rhode Island in 1969. My hat is off to the best rock drummer of all times.

     Back to the concert: The final encore was "Highway Star" and upon it's conclusion, the small crowd roared approval of the entire show. The traditional throwing of the guitar picks into the audience brought a scramble from the younger attendees. Roger threw his right to me, but I was blinded by the stage lights as he gave me a look of, "Jeez, how could you miss?" Too late, I saw the kid snatch up the pick and make off like a rat among tree legs. Paicey's stick went behind the stage barrier as a pretty female took a suicidal leap after it. She was followed by two large males and she was pancaked under them over a trailer hitch attached to the light trellis. It must have been painful, but she emerged with her reward, holding Paicey's still steaming drumstick in triumph.

     This was Deep Purple at it's finest. The demeanor of the band is best described as "gracious". Big Ian showed this when he thanked the crowd for appreciating the new songs off the "Purpendicular" album as well as the old favorites. This tour has created a whole new flood of Deep Purple fans. I am proud to be an "older" enduring fan, but I am also proud that the immense talent and energy of this band can be appreciated today by new fans that were "converted" by the sincerity of what I know as Deep Purple.

Jim Leaman (Cozmo)

[ reviews home ]