My only method of cleaning is a soft brush and cloth and some Audio Advisor product. Please play record a few times if I mentioned I have cleaned it and do not use another product until u do so. The enzymes work at eating the debris and play gets better, each time, usually much better If after a few plays you could try cleaning again if stubborn static persists... That requires to listening to the LP with my turntable & needle (which cost more money these days) and collecting the dust from the grooves. If a stubborn noise erupts I will then look under a light and microscope. It is quite time consuming. So I may miss a thing or two sometimes on my listings,  but I will always be here to help resolve the issue. All I ask is my buyers realize these points and be rest assured I offer a refund policy but I would prefer you email me so we can work something out first, I may have a back up copy... I have been collecting records since my 20's... Its has been a passion and a part-time hobby, I hope you love and enjoy music as much as I do, and selling is another way to get to know other people with a like minded interest as I. I offer a refund policy, so please give me the opportunity to make good if there is a problem with a transaction. I reserve the right to cancel a transaction after the sale If I find a missed defect on your behalf. Feel free to compare prices elsewhere's you will find I am very reasonable. Don't waste your time if the seller does not listen to the lp's, I have return 100's because of defects. Please play record a few times if I mentioned I have cleaned it and do not use another product until u do so. The enzymes work at eating the debris and play gets better, each time, usually much better. Happy Hunting!
check prices, email me with concerns please.
jacket ex Sticker on cover itself under plastic Record ex

Doesn't skip....looks awesome

In 1967, former  drummer  contacted London businessman Tony Edwards, in the hope that he would manage a new group he was putting together, to be called Roundabout. Curtis' vision was a "supergroup" where the band members would get on and off, like a musical roundabout. Impressed with the plan, Edwards agreed to finance the venture with his two business partners  and Ron Hire, who comprised Hire-Edwards-Coletta Enterprises (HEC).

The first recruit to the band was classically trained  player , Curtis's flatmate, who had most notably played with  (led by , brother of future  and  guitarist , and including ). Lord was then performing in a backing band for the vocal group  (formerly known as ), along with bassist  and drummer . (Simper had previously been in , and survived the 1966 car crash that killed Kidd.) Lord alerted the two that he had been recruited for the Roundabout project, after which Simper and Little suggested guitarist , whom Lord had never met. Simper had known Blackmore since the early 1960s when his first band, the Renegades, debuted around the same time as one of Blackmore's early bands, the Dominators.

HEC persuaded Blackmore to travel in from  to audition for the new group. He was making a name for himself as a studio session guitarist, and had also been a member of , , and , the latter artist prompting Blackmore's move to Germany. Curtis's erratic behaviour and lifestyle, fuelled by his use of , caused him to display a sudden lack of interest in the project he had started, forcing HEC to dismiss him from Roundabout. However, HEC was now intrigued with the possibilities Lord and Blackmore brought, and persuaded Ritchie to return from Hamburg a second time. Lord and Blackmore began the recruitment of additional members, retaining Tony Edwards as their manager. Lord convinced Nick Simper to join on bass, but Blackmore insisted they leave Carlo Little behind in favour of drummer . Woodman was the former drummer for 's Play-Boys (for whom he had played under the name Bobbie Clarke).

In March 1968, Lord, Blackmore, Simper and Woodman moved into Deeves Hall, a country house in , Hertfordshire.  The band would live, write and rehearse at the house; it was fully kitted out with the latest  and, at Lord's request, a  organ.  According to Simper, "dozens" of singers were auditioned (including  and Woodman's friend Dave Curtiss) until the group heard  of club band the Maze, and thought his voice fitted their style well. Tagging along with Evans was his band's drummer . Blackmore had seen an 18-year-old Paice on tour with the Maze in Germany in 1966, and had been impressed by his drumming. The band hastily arranged an audition for Paice, given that Woodman was vocally unhappy with the direction of the band's music. Both Paice and Evans won their respective jobs, and the line-up was complete.

During a brief tour of Denmark and Sweden in April, in which they were still billed as Roundabout, Blackmore suggested a new name: "", named after his grandmother's favourite song.The group had resolved to choose a name after everyone had posted one on a board in rehearsal. Second to Deep Purple was "Concrete God", which the band thought was too harsh to take on.

Deep Purple in 1968. Standing, left to right: ,  and . Seated:  and 

In May 1968, the band moved into  Studios in London's  to record their debut album, , which was released in July by American label , and in September by UK label . The group had success in North America with a cover of 's "", and by September 1968, the song had reached number 4 on the  in the US and number 2 in the Canadian  chart, pushing the Shades LP up to No. 24 on Billboard's pop albums chart. The following month, Deep Purple were booked to support  on their  tour.

The band's second album, , was quickly recorded, then released in North America in October 1968 to coincide with the tour. The album included a cover of 's "", which cracked the Top 40 in both the US (No. 38 on the Billboard chart) and Canada (No. 21 on the  chart),  though sales for the album were not as strong (No. 54 in US, No. 48 in Canada). The Book of Taliesyn would not be released in the band's home country until the following year and, like its predecessor, it failed to have much impact in the .

Early in 1969, the band recorded a single called "Emmaretta", named after Emmaretta Marks, then a cast member of the musical , whom Evans was trying to seduce. By March of that year, the band had completed recording for their third album, . The album contained strings and woodwind on one track ("April"), showcasing Lord's classical antecedents such as  and , and several other influences were in evidence, notably . (Lord and Blackmore had even claimed the group wanted to be a "Vanilla Fudge clone".) This was the last recording by the original line-up.

Deep Purple's troubled North American record label, Tetragrammaton, delayed production of the Deep Purple album until after the band's 1969 American tour ended. This, as well as lackluster promotion by the nearly broke label, caused the album to sell poorly, finishing well out of the Billboard Top 100. Soon after the third album's eventual release, Tetragrammaton went out of business, leaving the band with no money and an uncertain future. (Tetragrammaton's assets were assumed by , who would release Deep Purple's records in the US throughout the 1970s.)

During the 1969 American tour, Lord and Blackmore met with Paice to discuss their desire to take the band in a heavier direction. Feeling that Evans and Simper would not fit well with a heavy rock style, both were replaced that summer.  Paice stated, "A change had to come. If they hadn't left, the band would have totally disintegrated." Both Simper and Blackmore noted that Rod Evans already had one foot out of the door. Simper said that Evans had met a girl in  and had eyes on being an actor, while Blackmore explained, "Rod just wanted to go to America and live in America."

Ritchie Blackmore in , Germany, 1970

In search of a replacement vocalist, Blackmore set his own sights on 19-year-old singer . Though he found the offer "flattering", Reid was still bound by an exclusive recording contract with his producer  and more interested in his solo career. Blackmore had no other choice but to look elsewhere. The band sought out singer Ian Gillan from , a band that had released several singles in the UK without achieving any great commercial success. Gillan had at one time been approached by Nick Simper when Deep Purple was first forming, but had reportedly told Simper that the Roundabout project would not go anywhere, whereas he felt Episode Six was poised to make it big. Six's drummer  – an old comrade of Blackmore's from his days in  – introduced the band to Gillan and bassist . This effectively killed Episode Six, which gave Underwood a persistent feeling of guilt that lasted nearly a decade, until Gillan recruited him for  in the late 1970s. According to Blackmore, Deep Purple was only interested in Gillan and not Glover, but Roger was retained on the advice of Ian Paice.

"He turned up for the session...he was their [Episode Six's] bass player. We weren't originally going to take him until Paicey said, 'he's a good bass player, let's keep him.' So I said okay."

— Ritchie Blackmore on the hiring of .

This created the Deep Purple Mark II line-up, whose first release was a - tune titled "Hallelujah". At the time of its recording, Nick Simper still thought he was in the band, and had called John Coletta to inquire about the recording dates for the song. He then found that the song had already been recorded with Glover on bass. The remaining original members of Deep Purple then instructed management to inform Simper that he had been officially replaced. Despite television appearances to promote the "Hallelujah" single in the UK, the song flopped.  Blackmore had told the British weekly music newspaper  that the band "need to have a commercial record in Britain", and described the song as "an in-between sort of thing"—a compromise between the type of material the band would normally record, and openly commercial material.

The band gained some much-needed publicity in September 1969 with the , a three-movement epic composed by Lord as a solo project and performed by the band at the  in London with the , conducted by . Alongside  by  and  by , it was one of the first collaborations between a rock band and an orchestra. This live album became their first release with any kind of chart success in the UK. Gillan and Blackmore were less than happy at the band being tagged as "a group who played with orchestras", both feeling that the Concerto was a distraction that would get in the way of developing their desired hard-rocking style. Lord acknowledged that while the band members were not keen on the project going in, at the end of the performance "you could have put the five smiles together and spanned the Thames." Lord would also write the , another orchestra/group collaboration in the same vein, for the band in late 1970. In 1975, Blackmore stated that he thought the Concerto for Group and Orchestra wasn't bad but the Gemini Suite was horrible and very disjointed. Roger Glover later claimed Jon Lord had appeared to be the leader of the band in the early years.

The classic Deep Purple line-up, 1971. Left to right: Jon Lord, Roger Glover, Ian Gillan, Ritchie Blackmore, Ian Paice

Shortly after the orchestral release, Deep Purple began a hectic touring and recording schedule that was to see little respite for the next three years. Their first studio album of this period, released in mid-1970, was  (a name supported by the album's -inspired cover), which contained the then-concert staples "", "Into The Fire" and "". The non-album single "", released around the same time, finally put Deep Purple into the UK Top Ten. The interplay between Blackmore's guitar and Lord's distorted organ, coupled with Gillan's powerful, wide-ranging vocals and the rhythm section of Glover and Paice, now started to take on a unique identity that separated the band from its earlier albums. Along with Zeppelin's  and Sabbath's , In Rock codified the budding  genre.

On the album's development, Blackmore stated: "I got fed up with playing with classical orchestras, and thought, 'well, this is my turn.' Jon was into more classical. I said, 'well you've done that, I'll do rock, and whatever turns out best we'll carry on with.'"  In Rock performed well, especially in the UK where it reached No. 4, while the "Black Night" single reached No. 2 on the , and the band performed the song live on the 's .  In addition to increasing sales in the UK, the band were making a name for themselves as a live act, particularly with regard to the sheer volume of their shows and the improvisational skills of Blackmore and Lord. Said Lord, "We took from jazz, we took from old fashioned rock and roll, we took from the classics. Ritchie and myself...used to swap musical jokes and attacks. He would play something, and I'd have to see if I could match it. That provided a sense of humour, a sense of tension to the band, a sense of, 'what the hell's going to happen next?' The audience didn't know, and nine times out of ten, neither did we!"

A second album, the creatively progressive , was issued in the summer of 1971, reaching number 1 on the . The title track "" was released as a single, as was "", not from the album but recorded during the same sessions (although it replaced "Demon's Eye" on the US version of the album).  "Strange Kind of Woman" became their second UK Top 10 single, reaching No. 8.

 outside Montreux where  – excluding "" – was recorded in December 1971

Within weeks of Fireball's release, the band were already performing songs planned for the next album. One song (which later became "") was performed at the first show of the Fireball tour, having been written on the bus to a show in Portsmouth, in answer to a journalist's question: "How do you go about writing songs?" On 24 October 1971 during the US leg of the Fireball tour, the band was set to play the  in Chicago when Ian Gillan contracted , forcing the band to play without him, with bassist Glover singing the set. After this, the rest of the US dates were canceled and the band flew home.

In early December 1971, the band travelled to Switzerland to record . The album was due to be recorded at the  using the , but a fire during a  and  concert, caused by a man firing a flare gun into the ceiling, burned down the Casino. This incident famously inspired the song "". The album was later recorded in a corridor at the nearby empty , with the exception of the music track to "Smoke on the Water". That was recorded at a vacant theatre called The Pavillon, before the band was asked to leave. On recording "Smoke on the Water", Blackmore stated to : “We did the whole thing in about four takes because we had to. The police were banging on the door. We knew it was the police, but we had such a good sound in this hall. We were waking up all the neighbours for about five miles in Montreux, because it was echo-ing through the mountains. I was just getting the last part of the riff down, we'd just finished it, when the police burst in and said 'you've got to stop'. We had the track down."

Continuing from where both previous albums left off, Machine Head was released in late March 1972 and became one of the band's most famous releases. It was the band's second No. 1 album in the UK while re-establishing them in North America, hitting No. 7 in the US and No. 1 in Canada. It included tracks that became live classics, such as "Highway Star", "", "" and "Smoke on the Water", for which Deep Purple are most famous. They continued to tour and record at a rate that would be rare thirty years on; when Machine Head was recorded, the group had only been together three-and-a-half years, yet the album was their sixth.

Gillan on stage in , 1972

In January 1972 the band returned to tour the US once again, then headed over to play Europe before resuming US dates in March. While in America Blackmore contracted hepatitis, and the band attempted one show in , without a guitarist before attempting to acquire the services of , who rehearsed with the band before bowing out, suggesting  guitarist  instead. California played one show with the group, in ,  on 6 April, but the rest of this tour was cancelled as well.

The band returned to the US in late May 1972 to undertake their third North America tour (of four total that year). A Japan tour in August of that year led to a double-vinyl live release, . Originally intended as a Japan-only record, its worldwide release saw the double LP become an instant hit. It remains one of rock music's most popular and highest selling live-concert recordings.

The classic Deep Purple Mark II line-up continued to work, and released the album  in 1973. Spawning the hit single "Woman from Tokyo", the album hit No. 4 in the UK charts and No. 15 in the US chart, while achieving gold record status faster than any Deep Purple album released up to that time. But internal tensions and exhaustion were more noticeable than ever. Following the successes of Machine Head and Made in Japan, the addition of Who Do We Think We Are made Deep Purple the top-selling artists of 1973 in the US.

Collage of the Mark III lineup, with bassist and vocalist  (left) and co-lead vocalist  (top) joining Blackmore, Paice and Lord

Gillan admitted in a 1984 interview that the band was pushed by management to complete the Who Do We Think We Are album on time and go on tour, although they badly needed a break. The bad feelings, including tensions with Blackmore, culminated in Gillan quitting the band after their second tour of Japan in the summer of 1973, followed by the dismissal of Glover, at Blackmore's insistence. In interviews later, Lord called the departures of Gillan and Glover while the band was at its peak "the biggest shame in rock and roll; God knows what we would have done over the next three or four years. We were writing so well."

The band hired Midlands bassist/vocalist , formerly of . According to Paice, Glover told him and Lord a few months before his official termination that he wanted to leave the band, so they had started to drop in on Trapeze shows. After acquiring Hughes, they debated continuing as a four-piece, with Hughes as bassist and lead vocalist. According to Hughes, he was persuaded because the band was bringing in  of  as a co-lead vocalist, but by that time Rodgers had just started . "They did ask", Rodgers recalled, "and I spoke to all of them at length about the possibility. Purple had toured Australia with Free's final lineup. I didn't do it because I was very much into the idea of forming Bad Company." Instead, auditions were held for lead vocal replacements. They settled on , an unknown singer from  in north-east England, primarily because Blackmore liked his masculine, blues-tinged voice.

Deep Purple co-headlined the  in 1974. They played to over 250,000 people at the  in Ontario, Southern California.

This new lineup continued into 1974, and their spring tour included shows at , New York, on 13 March, and  four days later. The band co-headlined (with ) the  festival at  in , southern California, on 6 April 1974. Attracting over 250,000 fans, the festival also included 1970s rock giants ,  and . Portions of the show were telecast on  Television in the US, exposing the band to a wider audience. A month later, the band's 22 May performance at the  in , London, was recorded for the live album .

This lineup's first studio album, titled , was highly successful, reaching No. 3 in the UK and No. 9 in the US, and was followed by another world tour. The , which opens the album and would open most concerts during the Mark III era, was a conscious effort by the band to embrace the progressive rock movement, which was popularised at the time by bands such as , Emerson, Lake & Palmer,  and . "Burn" was a complex arrangement that showcased all the members' virtuosity - Ian Paice' difficult drum part is considered the root of modern drum and base beats and an accolade to young drummers - Blackmore demonstrates his classically influenced guitar prowess, while Hughes and Coverdale provided vocal harmonies and elements of funk and blues, respectively, to the music, a sound that was even more apparent on the late 1974 release . Besides the title track, the Stormbringer album had a number of songs that received much radio play, such as "Lady Double Dealer", "The Gypsy" and "Soldier of Fortune", and the album reached No. 6 in the UK and No. 20 on the US Billboard chart. However, Blackmore publicly disliked the album and the funky soul elements, even calling it "shoeshine music". As a result, he left the band on 21 June 1975 to form his own band with  of , called Ritchie Blackmore's Rainbow, shortened to  after the first album.

With Blackmore's departure, Purple had to fill the vacancy urgently. The band announced a replacement: American . Before Bolin was recruited,  (, ),  (),  () and  were considered. There are at least two versions of the Bolin recruitment story: Coverdale claims to have been the one who suggested auditioning Bolin. "He walked in, thin as a rake, his hair coloured green, yellow and blue with feathers in it. Slinking along beside him was this stunning Hawaiian girl in a crochet dress with nothing on underneath. He plugged into four  100-watt stacks and...the job was his." But in an interview published by  in June 1975, Bolin claimed that he came to the audition following a recommendation from Blackmore. Bolin had been a member of many late-1960s bands – Denny & The Triumphs, American Standard, and , which released three albums from 1969 to 1972. Before he joined Deep Purple, Bolin's best-known recordings had been made as a session musician on 's 1973  album , and as lead guitarist on two post-  albums:  (1973) and  (1974). He had also played with , , ,  and , and was busy working on his first solo album, , when he accepted the invitation to join Deep Purple.

The resulting album, , was released in October 1975, one month before Bolin's Teaser album. Despite mixed reviews and middling sales (#19 in the UK and #43 in the US), the collection revitalised the band once again, bringing a new, extreme funk edge to their  sound. Bolin's influence was crucial, and with encouragement from Hughes and Coverdale, the guitarist developed much of the album's material. Despite Bolin's talents, his personal problems with hard drugs began to manifest themselves. During the Come Taste the Band tour many fans openly booed Bolin's inability to play solos like Ritchie Blackmore, not realising that Bolin was physically hampered by his addiction. At this same time, as he admitted in interviews years later, Hughes was suffering from a cocaine addiction.  After several below-par concert performances, the band was in danger.

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