The Book of Taliesyn is the second studio album by English rock band Deep Purple, recorded only three months after Shades of Deep Purple and released by Tetragrammaton Records in October , just before their first US tour. The name for the album was taken from the 14th-century Book of Taliesin. .. I mainly drew from The Book of Taliesin, which is a collection of poems, said. The Book of Taliesyn Tour was a concert tour by British hard rock band Deep Purple. The tour promoted the band's second studio album in four months, The. Discover releases, reviews, credits, songs, and more about Deep Purple - The Book Of Taliesyn at Discogs. Complete your Deep Purple collection.

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    The Book Of Taliesyn

    View credits, reviews, tracks and shop for the CD release of The Book Of Taliesyn on Discogs. It's based on The Book of Taliesin, a hippie oriented variation of Deep Purple, and just so happens to be Glenn Danzig's favorite Deep Purple album, The Book . The Book Of Taliesyn is a music studio album recording by DEEP PURPLE as " Taliesin") which contains some of the oldest poems written in the Welsh.

    But The Book of Taliesyn is the record that deserve the "the album where all had started" advertising campaign. The world was conquered by the brits and their psychedelic and prog rock. The Beatles were at their peek, delivering some huge tunes. Everyone were amazed by Hendrix, Cream, The Who and other class acts. Some guys named Pink Floyd had their wheels on motion. Tetragrammaton, their US label, urged them to go back to Studio and record a second album right away in order to strenghten the live set. So they did The Book of Taliesyn.

    Tracklist Listen, Learn, Read On 4: Add Review chrislong56 May 21, Report. Reply Notify me Helpful. An album full of energy. Enjoy, even if you are not a hard rock or rock fan. It wasn't release in UK until almost a year later.

    BasementTraxx October 2, Report. Can anyone shed any light on it? Ozzmancommeth November 12, Report. The sound is very bad. This plate is suitable only for the collection, but not for listening. OldRusty August 22, Report. Ozzmancommeth July 21, Report. Even in exelent condition with a little effect of "sand" - its sounds very good. Add all to Wantlist Remove all from Wantlist.

    H by bthomson. Good Records! Brazilian 70's pressings by mamcruz. My Album Collection by DLange. Mono by Goodfri. Psych by Goodfri. Essential hard rock albums 60's by valeriosarno. Vinis by naldo. Classic Rock by MemphisJay. I can scan this! RSD by Goodfri. Japanese Mini LPs by Internaut. White Vinyl Design by gatogato. Woski by Laj. Lista Sparta 2 Hard Rock y Metal by jaywatts Borrowed by F by dim Mein List by ekmeltezel.

    LPs by babyjake Wishlist vinyl by Anaon. Vinyl by Wraiths. Kari by Esko Deep Purple by Gedor. Repudiated Stepchildren: Sold, traded or given away by LeLange. Deep Purple by BaubleDawdle. Listen, Learn, Read On. Hard Road. Guitarist Ritchie Blackmore provides one of his unconventional leads and drummer Ian Paice plays like a madman when necessary. Nick Simper even manages to throw in some psychedelic fuzz bass toward the end.

    I've always thought the opening lick had to have been inspired by Woody Woodpecker's trademark laugh and I still feel that way about it.

    For those of you too young to remember, WW was a wise-ass cartoon character that was as popular as Bugs Bunny back then.

    Anyway, it features Jon Lord ripping into his Hammond organ and more blistering guitar work from Ritchie, including a tricky false ending. It's important to mention that, while most axe-men at that time were trying to imitate either Clapton or Hendrix, Blackmore didn't sound like either or anyone else and his solos were anything but typical. His work on this tune is a good example of his individual technique. Since they had gotten lucky with a song from across the pond earlier they cover yet another Yank's ditty next, Neil Diamond's "Kentucky Woman.

    And it worked nearly as well as before by climbing to 38 on the charts.

    The following track is "Exposition," in which they take huge liberties with the second movement of Beethoven's 7th Symphony. Again, though, it just goes to show that they were determined to blend classical with rock and roll rather than pop as the Moody Blues were doing.

    There are some nice vocal harmonies on the bridge and Lord flies across the keyboard on the organ ride but it's not enough to save the song from being a letdown. It also has some Hammond- generated percussion as utilized on "Hush" and another inventive guitar break.

    That being said, the middle section features a terrific baroque-sounding treatment impressively arranged by Jon. It's a great marriage of a string quartet with Blackmore's tasteful electric guitar that I wish had gone on a little longer.

    Since Kubrick's revolutionary film " A Space Odyssey" opened that same year it's no surprise that the band incorporated Richard Strauss' "Also sprach Zarathustra" into the beginning of the final song.

    It fits what they were trying to do perfectly. But when they arrive at the singing part of "River Deep, Mountain High" they lose the big sound and the momentum they had built up fades away quickly. Ritchie adds some nice harmony guitar parts but when you compare Rod Evans' voice to Tina Turner's well. A big gong crash ends the album fittingly. Ritchie Blackmore and Jon Lord had both studied classical music styles so it's only natural that they would take their band down this progressive road.

    The Book of Taliesyn by Deep Purple () | song lyrics, album reviews

    Ritchie was quoted as saying that, while Jimi was the rage at the time, it was New York's Vanilla Fudge that had the most influence on them and it shows. Both groups were taking traditional song structures and enhancing them with other styles, creating their own epic versions of well-known tunes. I was still in my teens when this was released and I played the LP until the grooves wore out.

    Sadly, I was in the minority and mediocre sales of Deep Purple's early efforts were soon to convince them to steer towards a harder rock sound. But albums like this one sowed the very seeds that would soon grow into the symphonic progressive rock movement. It may not be a great album but it's good and a genuine trailblazer, nonetheless. Again, large portion of the record was reserved for covers.

    This time, however, these attempts were less interesting and under- devised. Vocal parts are poorly sung so even the bombastic Hammond intro which resembles the "Zarathustra" theme from the concurrent successful movie " Space Oddissey" cannot justify its inclusion. The opener "Listen, Learn, Read On" is excellent song with reamarkable riffs and catchy chorus, only a bit too long.

    Instrumentals "Wring That Neck" and "Exposition" show the early prog-leanings of the group with Blackmore and Lord utilising solo adventures on their instruments. Finally, the best track of the album is unusual piano-driven arrangement "Shield", which is filled with psychedelic references "I can smoke the pipe of sweet and better life and trust in the strength of the shield Very good performance, arrangement and singing, so one wonders why this title has been deeply buried in the past of the band, never gaining attention which deserves.

    Overall, "The Book of Taliesyn" is not as good as the debut album, but it is still a convincing effort that mirrors the extremely adventourous and prolific rock scene at the end of the s. This album is not essential, even below average at certain points, but for the prog rock scene it is useful to see the roots of the genre.

    Once again, the band go for a combination of their own compositions and a handful of covers. The title is taken from a famous Welsh book spelt slightly differently as "Taliesin" which contains some of the oldest poems written in the Welsh language.

    The album kicks off in what in retrospect sounds like full Spinal Tap mode, the spoken introduction to "Listen, learn, read on" now inadvertently having all the seriousness of "Stonehenge". The track has distinct similarities with the type of music Atomic Rooster would develop slightly later, this being emphasised by the driving Hammond organ. The fine instrumental "Exposition" sees Blackmore already pushing his guitar much further forward than it was on the band's debut.

    This leads into a frantic organ driven quasi-classical rendition by Jon Lord, similar to much of what appeared on Beggar's Opera's debut album.

    The piece acts as an introduction to the first cover version on the album. Lennon McCartney's rather funky "We can work it out" is perhaps a less obvious choice to cover that the first album's "Help".

    The interpretation here is surprisingly faithful to the original, Blackmore's guitar inflections being the only real difference until Lord finally lets go with a improvised run on organ.

    As a closet admirer of the work of Neil Diamond, the cover of his "Kentucky woman" is rather enjoyable. Whether this through and through pop rendition actually adds much to this album though, is a matter for debate.

    The instrumental soloing does however distinguish it from the crooner's original. The vocals here are at times particularly reminiscent of the sound of the Doors. However, this six minute piece turns out to be a finely crafted number with slightly understated vocals and some excellent guitar work. The following "Wring that neck", like "Mandrake Root" from the debut album, was developed into a never ending live monster.

    Listening to this relatively brief 5 minute version, it is easy to see why it was subsequently developed, the track being quite simply an opportunity for the band to let their hair down and jam along in fine boogie fashion. The final cover is a 10 minute interpretation of Ike and Tina Turner's "River Deep mountain high" although Ike did not actually appear on the recording , a song written by Phil Spector in partnership with Jeff Barry and Ellie Greenwich.

    The Book of Taliesyn

    The wall of sound, which was the key characteristic of the original, inspired George Harrison on his "All things must pass" album. Here, that wall of sound is largely replaced by the Hammond organ, this version initially being a slowed down, elongated dirge of the type Vanilla Fudge created so perfectly.

    As the track progresses, it becomes a more orthodox cover of the original. This delightful ballad features what is arguably Evans finest vocal performance, supported what sounds like the rare appearance of a mellotron.

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    The middle section is a classically based amalgam of strings, organ and guitar which combine in true prog fashion to create a wonderful whole.

    In all, "The Book of Taliesyn" may not see Deep Purple moving on significantly from their debut album, but it still contains a wealth of music which was well ahead of its time. Anyone with any residual doubts about why Deep Purple are listed on this site should investigate this album, along with the previous release, for the reassurance they seek. Note that this review reflects the order of the tracks as they appeared on music-cassette.

    The next track "Kentucky Woman" follows the same energy and drive as previous track. Paice continues with dynamic work while Nic Simples walking bass work does not serve the purpose as beat keeper only but it flows beautifully with the music.

    Rod Evans indicates his transparent vocal quality while Blackmore's guitar solo is still rough and does not show his uniqueness yet. The organ solo in the middle of the track is truly progressive in nature. In here I can smell the unique organ work quality of Jon Lord which is heavily influenced by classical music. It's stunning. Liste to how Jon Lord opens the track with his inventive Hammond organ solo which is very dynamic, followed with a blast of rhythm section that follows, combining tight bass lines and dynamic drumwork.

    Right after long organ solo, Ritchies provides his guitar solo stunningly. It's really an excellent track and everlasting, because you still can enjoy this track nicely even nowadays. Jon Lord enters again and this time combined with Ritchie's guitar.

    The end of the song has timpani that make it uplifting track. As usual with previous album, Deep Purple also covers The Beatles song "We Can Work It Out" performed differently with ambient nuance - darker than the original version. It starts symphonic with "Exposition" exploring Jon Lord's organ work combined with Nic Simpler's bass lines. You can see how prog this part is, because the music flows dynamically in inventive notes. The rest of the songs: Overall, this is a very good early album by Deep Purple which has strong progressive rock elements especially through the work of Jon Lord and also mostly on the structure of the song that most of them are not straight forward.

    It's an excellent addition to any prog music collection. Keep on proggin'..! The band still had to find its own way, and the songs flow through differeent styles: And, like everything done by Deep Purple, it is very well done.

    The backing vocals are also fine and, unfortunatly, were latter abandoned. The Book Of Taliesyn was another step towards their definitive sound, but showed the band in a creative period anyway, and I should point out the fact that they could handle almost any style in rock music. It was a matter of time to find their unique sound and right line up , but they left quite a good impression by the time they release this LP.

    The Shield. Yes it's DP with what sounds like a little bit of glam rock It's always a bit odd reviewing an album you've listened to a zillion times but hey four glasses of Chimay Tripel including that sugar puff moment PS i you dont understand it you either haven't had Sugar Puffs or Chimay.. God help you. It's harsh to say but Rod's not in same league as some of the legendary vocal beasts that follow him.

    Somehow through all this fairly decent proto heavy rock Richie manages to get every other instrument faded out when ever he deigns to play a lick.

    Nah Nah it's just a Fucglyd up cover. download Burn download Strombringer Hoorah!!! The rest of it, though, just sounds like the first album gone slightly sour, only forgetting to rock.

    Lessee, we have a Neil Diamond cover, "Kentucky Woman," which is We have an extremely mediocre Beatles cover, "We Can Work it Out," preceded by an introduction that sounds to me like Jon had decided that keyboard parts that would sound like the blueprint for the more mediocre Van Der Graaf Generator organ breaks would be a good idea. It also shows Paice, in a rare lapse of judgement, trying to make his drum parts more "profound" by making them as loud and echoey as possible.

    Lessee, then there's "Shield," which starts off with a nice bassline, decent minimalist guitar, a decent vocal melody Then there's "Anthem," which is actually quite pleasant, even though it's dripping with schmaltz and since it's over six minutes, naturally, this becomes a problem, which isn't really remedied by the sudden appearance of a string section in the middle. At least it has a pretty guitar solo, one of very few on the album.

    And finally, there's the band's cover of "River Deep, Mountain High" by whom, I have no clue , which, excluding yet another silly, tedious, long organ-based introduction, is Not memorable at all except for the chorus , but pleasant in the slow parts and amusing in the fast parts.

    You know, looking back at this review, I'm amazed that I give it as high a rating as I do - some reviewers absolutely trash the hell out of this album, and I can definitely see where they're coming from.

    Still, I don't outright hate anything on this album, except the disgraceful Beatles cover, and besides, the total hilarious naivety of the band in regards to what actually consists "good" music is at least somewhat charming. At the same time, it's still a rather tepid massacre of good taste, so I can't really put it in the "so awful it's great" category, like I do with ELP's Pictures at an Exhibition. If you see it in a cutout bin, consider it, but otherwise, don't bother.

    Only Rod Evans' vocals are still rooted in earlier rock traditions. He's a fine singer of course but his Elvis style dates this a bit. The instrumental Wring The Neck is classic Blackmore Purple, with sharp guitars that are both full of bite and melody.

    Like all tracks, also this one drowns in 60's reverb, but apart from that production choice this track could have fitted easily on Fireball. After those two strong openers Kentucky Woman is a rather average 60's pop song.

    Exposition makes a bit more room for classical organ playing from Jon Lord. It's like a take on Rondo from the debut of the Nice. The Shield offers a dreamier mood. It's a straightforward pop song again but I quite like this one with it's snake-charming Eastern melodies. Anthem however is probably the weakest link on this uneven album. There's a classical musical bit in the middle but basically it is a plain sugary crooner. River Deep is a 10 minute song which is sure deserving of the proto-prog tag.

    Hailing from , only the Doors had similar long composed pieces. Unfortunately none of the melodies or playing is really heart-warming. A good early Purple album, but with too many prevailing ties rockabilly and pop elements to stand-out from their contemporaries. The vocals are not Ian Gillan's yet, but the singer Rod Evans actually has very similar vocals to Gillan.

    Also the bassist was to change. It's so easy and it wouldn't be very wrong either to say that these early albums are done by a band who haven't yet found their musical direction - or even the right line-up. Well, I just wish they would have continued developing things heard here instead of becoming heavy legends.

    There are glimpses of classically influenced innovation, but no more than that. The rather under- developed state of their writing skill is also visible in the large portion of recycled song material. Ritchie Blackmore whose biography I read recently always needed to show off his skills as a guitarist, and here he does it most openly with the hard rocking instrumental 'Wring That Neck'. I think in the end already here Blackmore with his ballsy playing is more dominant musician than Lord.

    A pity. The CD reissue has several bonus tracks three live ones and two studio outtakes. Maybe this album is best described as promising. It's kind of a fall-in-between case. I like the fantastic cover drawing more than the music. But 'Anthem' is a fine ballad-ish song anyway, and 'Exposition' instrumental long intro to the Beatles cover is surely Proto Prog worth noticing. I want to remind you of the subjective nature of my ratings, and this is not such a classic that makes me rate it higher than I personally enjoy it.

    Done that too as a PA reviewer The second album from Deep Purple is also one of their most underrated albums. Like 'Shades Of Deep Purple', fans look back on this record and dismiss it, in no small part due to the fact that it features more cover tracks. Although there is a greater wealth of original material here, it is hoped that a band would have started focusing solely on their own material by this point, but in any case, 'The Book Of Taliesyn' is a small step in the right direction for this archetypal hard rock ensemble.

    Another psychedelic-tinged, organ driven slice of hard rock, Deep Purple's music may still not have been golden at this point, but contrary to the disdain that the album has received, there is some great stuff to behold here.

    All things considered, the album is fairly diverse for its time.

    Richie Blackmore has some nice solos on this album finally, but it would be a while before he started really coming onto his own as the guitar hero he is considered today. Deep Purple even bring their own unique sound to the Beatles cover 'We Can Work It Out', adding a long proggy instrumental introduction that really makes the track their own. A problem that 'The Book Of Taliesyn' really does struggle with is the production, which often feels a little too ambitious given the technology at the time.

    While Deep Purple can't be put down for wanting to incorporate alot of sounds into their album, 'Taliesyn' does tend to get a little muddy and too distorted at times, especially with the dense organ sounds.

    Deep Purple's sophomore is a very good album, but this is a problem that does tend to take away from the ferocity of the performance, and there were parts where the production really felt as if it got in the way of enjoyment. Deep Purple would keep getting better from here, taking this potential and running with it a little more on their self-titled follow-up to this album.

    This is maybe the best song from this album. Very mellow. Lord plays some Mellotron in this song. As a whole, I think that their first album was better than this album. There is also a very often use of "dramatic percussion" playing A timpani? A gong? The album title is a slightly alternate spelling taken from the 14th-century Book Of Taliesin which is one of the most famous of all Middle Welsh manuscripts that were attributed to the bard which was famous for setting a wide number of moods in the Medieval courts in the days of King Arthur in Camelot.

    The album contains seven tracks that range from spunky little blues rockers such as the opener "Listen, Learn, Read On," "Exposition" and other segments in different tracks which all all tinged with a period glaze of psychedelic keyboard embellishments that deviate into fantastic classical musical expeditions which finds Jon Lord dishing out some impressive keyboard playing that was only rivaled by Keith Emerson in The Nice.

    Ironically the album cover art which is my favorite of the DP canon was created by John Vernon Lord no relation to the keyboardist. There are three cover tracks as well.

    The most popular track of this album is the Neil Diamond cover "Kentucky Woman" and the two part track that begins with "Exposition" cedes into a woefully out of place more bluesy rendition of the Beatles' "We Can Work It Out. While this album is satisfying on many levels, it feels like they were trying to pull off too many ideas that never feel resolved. The mix of psychedelic bluesy rock mixed with outbursts of classical keyboard segments display veritable exciting ideas gestating in the midst and there are even moments where the chugging of the guitar and riff sound like they are ready to break into such classics as "Highway Star" however for the most part the album soars along in psychedelic blues rock mode and while Rod Evans certainly had the perfect voice for the 60s hippie scene, he lacked the overall powerful effects that Ian Gillan added down the road.

    Not a bad way to get your groove on. The newer remastered versions are quite superior to the original as far as i've heard. The line up of the band during this time, remained the same for their first 3 albums which were all recorded and released within a year's time. The lead singer at the time was Rod Evans, who in , during the band's first hiatus, tried to tour under the name Deep Purple and was sued for it to the current equivalency of two million dollars.

    After this, Rod has never appeared in public and has faded into obscurity. It was after his departure that Deep Purple really became popular, and the lead singer at that time, Ian Gillian, was the one that carried the signature DP sound during the height of their popularity.

    But for now, we have to be satisfied with Rod Evans. For this album, the sound is very psychedelic and their target market was the hippies. The sound is similar to "Vanilla Fudge" and that seems to be the style they were shooting for at the time. This comes instantly apparent in the first track "Listen, Learn, Read On". The vocals are spoken on the verses and sung on the choruses with a lot of reverb.

    The music is strong psychedelic rock and unpolished, but that give it a certain charm and mysteriousness.

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