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3.39 | 60 ratings | 3 reviews
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Album · 1973

Filed under Hard Rock


1. Woman From Tokyo (5:51)
2. Mary Long (4:26)
3. Super Trouper (2:56)
4. Smooth Dancer (4:13)
5. Rat Bat Blue (5:26)
6. Place In Line (6:31)
7. Our Lady (5:20)

Total Time 34:27


- Ian Gillan / vocals, harmonica
- Ritchie Blackmore / guitar
- Roger Glover / bass
- Jon Lord / keyboards
- Ian Paice / drums

About this release

Release date: January 26, 1973
Label: Purple Records

Reissued in 2000 with the following bonus tracks:

8. Woman From Tokyo ('99 remix) (6:37)
9. Woman From Tokyo (alternate bridge) (1:26)
10. Painted Horse (5:21)
11. Our Lady ('99 remix) (6:06)
12. Rat Bat Blue (writing session) (0:56)
13. Rat Bat Blue ('99 remix) (5:49)
14. First Day Jam (11:26)

Thanks to Pekka, Lynx33, diamondblack for the updates


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Specialists/collaborators reviews

siLLy puPPy
DEEP PURPLE was always a strange act. A rather random cast of characters starting as a pool of talent arranged in a similar way to pop acts like The Monkees, somehow found its own soul as one member after another built upon what came before and finally beginning with their 1970 landmark album “In Rock”, the band had hit upon the perfect chemistry. This was the period that has been designated the Mark II era of the band’s long and changing career and was the time when Ian Gillan (vocals), Ritchie Blackmore (guitars), Jon Lord (keys, piano, organ), Roger Glover (bass) and Ian Paice (drums and percussion) were one of the most successful bands alongside Black Sabbath and Led Zeppelin in the nascent world of hard rock and early heavy metal. The band sold albums by the millions and couldn’t book enough shows to fill the demand of their dynamic live performances. Their success was the envy of musicians far and wide and one of those rare acts that seemed to appeal to all whether they preferred hard rock, prog, soul, jazz or classical. This band simply had a universal charm.

And then there was the negative side of the equation. After the success of their multi-platinum release “Machine Head,” DEEP PURPLE became living legends and toured like there was no tomorrow under the management’s brutal dictatorship and constant pressure to perform. All was not well with the PURPLE ones after the whirlwind tours across the world had finally come to an end. Exhausted were they and that is exactly when the pressure reared its ugly head. Instead of the sensible idea of allowing the band to recuperate from their enervating and demanding live performances, the record company and all the money grubbing whores who profited dearly from the band’s phenomenal success instead pulled out their slave driving whips and put the band immediately back in the recording studio to pump out a followup album which resulted in the very frowned upon WHO DO WE THINK WE ARE which to this day still divides hardcore fans like the DMZ between the Koreas.

As the tale goes, the infighting between management and members resulted in major schisms that led to Ian Gillan jumping ship only a few months after WHO DO WE THINK WE ARE was released. Citing fatigue as the main culprit which led to all the other issues at hand, the band carried on the best that they could although agreeing on tracks to include on the album was one of the major points of contention. The rather short album consists of a mere seven tracks and includes one of the band’s most famous tracks “Woman From Tokyo” which narrated the famous Japanese tour that also yielded one of the most celebrated live album recordings of the entire rock era with their hugely popular “Made In Japan.” After that famous single, what we mostly get is another six musical compositions that have sort of fell to the bottom ranks within the greater DEEP PURPLE canon, and that is indeed a true shame because i happen to be one of those who actually loves this album although i will readily concur that WHO DO WE THINK WE ARE is indeed one of the weakest releases within the Mark II lineup.

Often cited as nothing more than a series of disconcerting efforts and passionless pits of uninspired drudgery that showed the band playing their older material by the numbers, i see this album from a different point of view. True that this without doubt could have been a better album given all the vital circumstances needed to create a “Machine Head 2,” however even taking the album for what it is, this is one excellent album filled with classic PURPLE material. For one, i don’t want a sequel of a previous masterpiece but rather a new set of tunes that take a bold new approach to the sound laid out from what came before. WHO DO WE THINK WE ARE does just that with heavy guitar riff oriented bluesy rock in tandem with the excellent keyboard accompaniments and yet more strong vocal performances from Gillan. There is no slacking off here that i can detect.

After the initial “Woman From Tokyo” the tracks continue with an interesting array of heavy rock that is more blues oriented than on their previous albums but not too far off the cuff of other Mark II albums when all is said and done. “Mary Long” is an exception listed below (me no likey) and while “Super Trouper” doesn’t jump into the typical heavy DEEP PURPLE rocker, it does however have a unique fragility to it with a very catchy melody and smooth instrumental interplay that is more sophisticated than the average DP track. “Smooth Dancer” is an absolute gem with a heavy emphasis on a nice guitar riff (reminds me of what “Nobody’s Home” would sound like on the future “Perfect Strangers) with excellent keyboard interplay in the form of a rather honky tonk sounding piano run. The melody creates one of my absolute favorite DP tracks of their career. The keyboard solo is also quite adventurous as Lord is a relentless madman.

Next up: the phenomenal “Rat Bat Blue.” This is yet another masterpiece of music in the band’s long career with a heavy blues riff that adds some interesting progressive rock time signature workouts at key moments (albeit brief). Honestly it sounds a tad like “Rock ’n’ Roll Hoochie Koo” by Rick Derringer only without the lame cheesiness and elevated to a higher arts position. Brilliant grooves, excellent vocal interplay and one of Jon Lord’s most treasured sizzling keyboard performances in his entire career that makes Keith Emerson look like nothing more than a piano student who wants his mommy. “Place In Line” takes the pure blues route that sounds more like a John Lee Hooker track than the DEEP PURPLE the world had come to know, however despite this sidetrack into a sorta “Got Dem Ol’ Kozmic Blues” that sounds a tad Janis Joplin, this track finds resolution as it ratchets up heaviness. A major faux pas for some but for me this merely finds a band paying tribute to a style of music that inspired the members all the while adding their own voice. I find it quite satisfying myself. Last up: “Our Lady.” Spacey organ intro is followed by a semi-ballad that maintains a thick organ presence and sounds a bit like a 60s psychedelic band of some sort. Not one of the best tracks of the album and definitely not a wise ending choice but i find this one to have a nice groove and beautifully intricate melody as well.

Here are a few reasons i can detect as to why this album has received such a bad rap. 1) Reputation. Yeah, this album has gotten trashed by everyone over the years to the point that someone who had never listened to this album would assume that the band was trying to record covers of The Partridge Family or something. 2) The album cover and title are admittedly awful and give the impression that all the stale and soulless tunes that have been purported to exist surely must be as such since the cover is about as inspired as a adipose laden ass sitting on a plexiglass coffee table. 3) There are some bad moments on this one although not nearly as bad as one would expect. Unfortunately one of these musical faux pas’ s comes as the second track “Mary Long” which is a rather insipid tale doubt a girl losing her virginity and even hosts a major no-no of stealing the riff from Clapton’s “I Shot The Sheriff” for certain parts of the track. 4) This is different than “Machine Head” and has a completely different energy. Riffs are varied, solos (both guitar and organ) are more varied. Everything is more eclectic and more ideas are strewn about which makes some people feel uncomfortable i guess, especially when the relativity factor is part of the equation (that being it followed the brilliant consistency of its predecessor.)

A perfect album this ain’t. There are so many ways this could’ve been a better album but i personally love this one a lot and find it a testament to the fortitude of a great band at their absolute worst that is still able to crank out excellent music despite wanting to pull out a semi-automatic rifle and blow everyone else around them away. While i would never tout this album as the pinnacle of the band’s career in any way, shape or form, i do find this to be woefully underrated, under-appreciated and misunderstood. While i will probably never convince anyone to the contrary, i cannot find the horrible aspects of this album that i have read about forever. This is an excellent album that only could’ve been much better with some rearranging of tracks and a few more months of recovery after a lengthy tour. However, as fate would have it, the band would splinter, Gillan would exit stage right and David Coverdale would usher in the Mark III phase. True that we cannot change history but we can alter our misguided perceptions of a great album that’s been deemed inferior for too long.

Four stars because the strengths are so much greater than the weaknesses.

Members reviews

There are underrated albums where I can't see what's wrong with them. The Doors' Soft Parade, for example did have a couple of rather pop-oriented numbers ("Tell All the People", "Touch Me"), but a lot of it is more typical Doors, so I didn't see a lot wrong with that album. Even their two post-Jim Morrison albums, Other Voices and Full Circle aren't that bad, if you view them as Ray Manzarek/Robbie Krieger albums, and not Jim Morrison-fronted Doors. Yes' Drama is also underrated, but for most people it just isn't Yes without Jon Anderson. Even in the metal world, there's Judas Priest's Rocka Rolla which is more bluesy hard rock, so think of it as that, and you'll probably be fine, and Scorpions' Lonesome Crow, which is more of a psych/prog/Krautrock album but with hard rock trappings (it's more of a proto-metal album). Who Do We Think We Are is the last Mark II lineup Deep Purple album (at least until the 1980s) and considered the weakest of them all (if you bar Concerto for Group and Orchestra). It's not that bad, in fact I found much of the album quite enjoyable. "Woman From Tokyo" is the classic, and, next to "Smoke on the Water" a song you can't get away from if hearing classic FM rock. "Mary Long" and "Smooth Dancer" are also quite enjoyable, and to be honest, none of the album is really that bad. Certainly In Rock, Fireball and Machine Head are required, but with lowered expectations, I wasn't expecting much out of Who Do We Think We Are and came out surprised.
It is often said that there is no bigger disappointment than the one you get from someone you love, and this is very true as far as the aptly-titled "Who Do We Think We Are?" is concerned. This album, released only one year after the awesome double whammy of "Made in Japan" and "Machine Head", gives new meaning to the word 'anticlimactic', and shows a band on the brink of disintegration. Of course, as everyone knows, soon afterwards Deep Purple would come back bigger and better than ever (though with a different lineup and sound) - but this disc remains a blot on their discography, though unfortunately not the only one.

There is not much to say about "Who Do We Think We Are?", seen as it is mostly a flat, monotonous effort that never really sticks in the listener's mind. The sole exceptions to this rule are opener "Woman from Tokyo", which, while not the band's strongest effort by any means, manages at least some semblance of quality, and the scathing "Mary Long", dedicated to the same Mary Whitehouse (a notorious British campaigner for morality and decency) also indicted by Pink Floyd in their song "Pigs - Three Different Ones". The other songs, though competently executed, are totally forgettable, and seem to blur into each other in a sort of shapeless mess. Even the bonus tracks feel disposable, unlike those included on the remastered editions of "In Rock" and "Burn" - the lengthy instrumental "First Day Jam" being far from the best example of the band's mastery, in spite of a decent performance by Hammond king Jon Lord.

Probably, if the album had been released by another band, my rating would have been higher (though not by much). However, we are talking about Deep Purple here, and we have the right to expect something better from one of the undisputed legends of rock. If you are a fan, or want to complete your collection, try to find it secondhand, or discounted (as I did) - otherwise, it is not worth shelling out too much of your hard-earned cash for this very weak, undistinguished effort. Get "Burn" instead - even with a new lineup, it is everything the title promises.

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