Due out on 13 Nov 2026 via Cleopatra Records, Purple Storm brings together an eclectic collection of hard rock and metal musicians to reinterpret 12 songs from the Deep Purple catalogue. Available on CD, 2 LP and digital formats, the project draws on the band’s remarkable musical legacy, from the early heavy metal foundations of In Rock and Fireball to the more progressive and melodic sounds of later eras, including the reunion of ‘Mark II’ in 1984.
With contributions from musicians connected to Deep Purple’s wider family, alongside artists from across the hard rock and metal spectrum, the album offers a mixture of faithful tributes and more radical reinterpretations. The results are inevitably uneven, but there are some excellent performances here, and the stronger tracks serve as a reminder of just how influential and versatile Deep Purple’s music remains.
Let’s take a look track by track.
1. Highway Star – 4/5 [Derek Sherinian, Billy Sheehan, Chris Adler, Girish Pradhan, Gus G]
A very heavy, pounding arrangement gets things off to an energetic start. The guitar solo by Gus G references the original without simply feeling like a note-for-note reproduction, while the vocals by Girish Pradhan are clear and crisp, allowing the lyrics to be heard easily. A powerful opening that captures the spirit of the original while adding plenty of weight.
2. Smoke on the Water – 5/5 [George Lynch, Derek Sherinian, Vinny Appice, Graham Bonnet, Joe Bouchard]
This takes a different approach, giving that famous riff a more modern, even bluesy appeal while retaining the traditional drumbeat (handled by Vinny Appice). Graham Bonnet handles the vocals, and once you adjust to the sound of his voice, this proves to be a really solid version. His involvement also provides that valuable old-school connection to the wider Deep Purple family, making this one of the album’s highlights.
3. Space Truckin’ – 3/5 [LA Guns]
LA Guns bring bags of energy to their interpretation, although the busy musical arrangement doesn’t always work. The screams are, of course, there, with Phil Lewis, now over 60, doing his best to reach those heights. At times, though, it feels more like an imitation than a convincing recreation, illustrating just how difficult those high notes are to pull off. It’s a loud, vivid performance, but one that doesn’t quite come together.
4. Child in Time – 4.5/5 [Chris Holmes, Alan Davey, Jürgen Engler, Ronnie Romero, Jonathan Cain, Fred Aching Rios]
The album’s most ambitious cut, for obvious reasons – the original Gillan/Glover era version is legendary. Ronnie Romero, another member of the wider Deep Purple family, takes on the vocals, while the arrangement honours the original’s distinctive organ work, courtesy of Jonathan Cain, and retains the familiar vocal melody. This is a hard rock epic, and for a man in his 40s to attempt those screams is noteworthy in itself. Chris Holmes delivers sublime guitar work, but the emotional power of the original remains just out of reach at its most intense moments. The performance also loses momentum towards the end, where it fizzles out rather than delivering the devastating climax the song demands. An impressive undertaking, if not an entirely successful one.
5. Perfect Strangers – 3.5/5 [Pat Travers, Jordan Rudess, Greyson Nekrutman, Oni Logan, Tony Campos]
A much-loved reunion-era track that gets off to a slightly awkward start, with the opening not quite hitting the mark. Oni Logan’s vocals, however, are powerful and get under the skin of the song, bringing his own ideas rather than simply copying the original. Pat Travers’s guitar work is keen, but the overall arrangement is too busy, drowning out much of the atmosphere and mood that make this song so compelling. There are good elements here, but they don’t quite add up to a fully satisfying interpretation.
6. Woman From Tokyo – 3/5 [Angel]
Angel, featuring Frank DiMino, delivers a fairly faithful version of this Deep Purple classic. If anything, it is perhaps too faithful, doing little to distinguish itself from the original or offer a compelling new perspective. A nice guitar solo towards the end provides a welcome lift, but otherwise this is a fairly forgettable entry in the collection.
7. Burn – 2.5/5 [Doug Aldrich, Bob Daisley, 616, Jonathan Cain, Bobby Rondinelli]
The Deep Purple family connections continue here, with Bob Daisley on bass and Bobby Rondinelli on drums, while 616 takes on vocal duties. Doug Aldrich provides a familiar-sounding opening on guitar, but the performance doesn’t quite reach the heights its intentions suggest. The vocals fail to match the intensity required, and the song gradually loses its soul, becoming something closer to generic metal. Given the strength of the original, this is a disappointing result.
8. Hush – 4/5 [Arthur Brown, Alan Davey, Joel Hoekstra, Carmine Appice, Chris Lietz]
Arthur Brown takes on the vocals, with Carmine Appice behind the drum kit, and the result is gritty, dark, and just a little dangerous. Rather than simply recreating the familiar song, this version leans into its character and gives it a distinctive edge. It may not be the most obvious standout on the album, but it has plenty of personality and proves that a different approach can work when the performers bring something of their own to the material.
9. Fireball – 2/5 [Marc Lopes, Steve Di Giorgio, Simon Wright, Charlie Parra del Riego, Claudio Pesavento]
This version builds on the original’s speed but wastes the potential of the lyrics and the contrast between melody and sheer power. Marc Lopes is undoubtedly a powerhouse vocalist, but he doesn’t establish the emotional connection needed for this interpretation to work. The result is my least favourite track on the album: energetic enough, but missing the musical contrast and character that make the original so effective.
10. Speed King – 5/5 [Thor, Derek Sherinian, Chris Poland, Marc Lopes, David Ellefson, Fred Aching Rios, Brandon Ellis]
Now we’re talking! This is absolutely unhinged, with the musicians throwing themselves into the performance and vocals that will make the hairs on the back of your neck stand to attention. It’s no surprise that Thor was given the job of singing this one, alongside Marc Lopes. The sheer force of the performance underlines just how far ahead of their time Deep Purple were, proving they were unquestionably among the earliest proponents of heavy metal. Then the guitar (Chris Poland and Brandon Ellis) and organ (Derek Sherinian) duet arrives, and it’s simply sublime. A thrilling interpretation that captures the raw energy and musical virtuosity of the original while making the most of its own performers.
11. Black Night – 5/5 [Rick Wakeman, Bernie Shaw, Bob Daisley, Mick Box, Simon Phillips]
Bernie Shaw of Uriah Heep is a welcome presence on vocals, while Rick Wakeman’s excellent organ work gives the track a definite progressive rock flavour that works remarkably well. Bob Daisley also returns, adding a driving bass line that helps propel the song forward. This is another great interpretation, with the musicians bringing their own identities to the material without losing sight of what made it so effective in the first place.
12. Stormbringer – 3.5/5 [Jason McMaster, Marty Friedman, Rudy Sarzo, Claudio Pesavento, Brian Tichy]
Jason McMaster’s vocal approach feels more influenced by Ronnie James Dio than David Coverdale, giving the song a somewhat different character from the original. Marty Friedman’s guitar work is very good, and there is plenty to admire in the musicianship, but the overall style doesn’t quite come off. It’s an interesting attempt that never fully convinces, although it remains a perfectly respectable way to close the album.
So, is it worth your time and money?
Purple Storm is an uneven but often enjoyable celebration of Deep Purple’s extraordinary catalogue. Its greatest strength lies in the sheer range of musicians involved and the willingness to approach these songs from different directions. When the performers bring genuine character to the material, as on “Smoke on the Water”, “Speed King” and “Black Night”, the results are excellent. “Highway Star” and “Child in Time” also offer plenty to admire, even if the latter cannot quite match the emotional heights of the original. The more successful interpretations understand that these songs are about more than technical ability: they depend on atmosphere, dynamics, melody and the chemistry between the musicians.
The weaker moments expose the project’s main limitation. Several performances rely too heavily on volume, speed or vocal imitation, while others lose the distinctive character of the originals in arrangements that are simply too busy or too generic. Fireball and Burn are the clearest examples, while Woman From Tokyo suffers from being too faithful to leave much of an impression.
Ultimately, Purple Storm works best as a collection of individual interpretations rather than a consistently compelling album from beginning to end. The quality of the musicianship is rarely in doubt, and the strongest tracks demonstrate why Deep Purple’s music continues to inspire generations of rock and metal performers. Not every experiment succeeds, but there is enough here to make the project worthwhile, with a handful of genuinely outstanding performances balancing out the less convincing moments.
You can pre-order the album here: https://deadlinemusic.bandcamp.com/album/purple-storm-a-tribute-to-deep-purple