Even Better Than The Original Thing? DEEP PURPLE s Burn
When you think of early 70’s Hard Rock, arguably three bands come to your mind (BLACK SABBATH, LED ZEPPELIN and DEEP PURPLE). Whereas BLACK SABBATH and LED ZEPPELIN managed to keep their lineups untouched until the very end of the decade, DEEP PURPLE had a remarkable revolving door of players running around core members Jon Lord (keyboards) and Ian Paice (drums). Fortunately, always gifted players!
So, back to late 1973. DEEP PURPLE, the best-selling band in America at that time (Smoke on the Water days) was to play California Jam the next year as headliners (alongside EMERSON LAKE AND PALMER & BLACK SABBATH). They just didn’t have a singer; Gillan was fired due to his feuds with guitar player Ritchie Blackmore. They already had a new bass player, the replacement of Roger Glover (which, like Gillan, fell from grace with stepping-razor Blackmore). His name: Glenn Hughes, from a Hard-Funk-Rock power trio called TRAPEZE. Hughes was a fine singer on its own (specially in higher notes) – but Lord, Paice and Blackmore were afraid to depend on his simultaneous bass and vocal duties. That said…A New Musical Express’s announcement in December 1973 led a young singer called David Coverdale (future WHITESNAKE leader – you may even know him much for this), a JOE COCKER and OTTIS REDDING fan, to auditioning. When he arrived, he discovered that he would become DEEP PURPLE’s new frontman (I think the guy simply freaked out). His powerful set of pipes and superb using of mid and lower notes encouraged DEEP PURPLE to combine his singing and the one from Hughes – to mesmerizing effects. Instead of a great singer to replace demigod Gillan, DEEP PURPLE’s new lineup (named MARK III – the third incarnation of this band) striked with a vengeance – TWO!
Another relevant musical combination was that between new member’s preferences and good and old DEEP PURPLE Hard Rock. Hughes was a funk enthusiast while Coverdale was hugely interested in Blues and Soul. DEEP PURPLE aptly merged all these (seemly) disparate strands to forge a distinctive sound in their new lineup’s debut, 1974’s Burn. Blackmore enjoyed Coverdale’s approach while Hughes received significant support from drummer Paice (eager for jamming endlessly and more than able to), Lord acting as a mediator. There would be no other DEEP PURPLE record with so much ‘consensual’ musical decisions up to 1984…
What remained from previous DEEP PURPLE incarnations: top-notch interplay between keyboards and guitars, solid and dynamic drumming, percolating bass lines, fast and extended soloing bordering on Progressive Rock, fascinating vocal melodies interwoven with precious-to-note riffing, catchy choruses, some traditional Rock N’Roll lifestyle lyrics alongside occasional good ‘serious’ incursions, virtuosity. What changed (and shook) things a little bit: magnificent vocal duets, funky rhythms, bluesy (slower) guitar riffs, looser compositions (jam-prone).
Burn, the title track, defines this ‘melting pot’ better than anything. The track skyrockets gradually, but in explosive steps - we follow from a towering riff from Blackmore (amplified in Lord’s Hammond organ) and an even better drumming performance from Paice (check out, I’ve never seen ANYTHING comparable to this, his delivery so fiery, precise and technical John Bonham from LED ZEPPELIN and Neil Pert from RUSH would have to rewrite their rules to follow him). Then all of a sudden, we have Coverdale’s smooth-yet-energetic tongue-in-cheek delivery just for Hughes to come with his distinctive timbre on chorus. This time, you’ll be in Hard Rock’s paradise. Just to witness this many virtuosos interacting, engendering many minor solos, ending with a flaming (literally) Blackmore riff where he employs varied distortion tools to reproduce the many flames of the lyrics in purely musical terms. Other than Highway Star, this is what Hard Rock is all about (too bad they don’t play this number anymore)!
‘All I hear…is BURN!’
Might Just Take Your Life is much more subtle in approach, but equally rewarding. Lord finds the perfect beat to set a moody (and thick) atmosphere taken by the loose groove of Hughes and Blackmore and the galloping drumming of Paice (no rest after Burn!). Coverdale cames with his Devil-may-care lyrics and careless aural vocals of pure melody and Blues, in one of his definite performances. He and Hughes sing the chorus in almost meditative form. Then Hughes performs an amazing duet with…himself! He is admirably able to change his timbre and tone in less than a second. His ‘duet’, equal parts Funk and Hard Rock, is one of the highlights of this record and always brings to my mind ‘Man, this is what mid-70’s is about’. Then Coverdale joins again. This track’s vocal delivery is a priceless delight (best male vocal duet ever in Rock) with a loose, captive rhythm backing our ride! Another winner.
‘Got more than I asked for
Got more than I need’
50’s and 60’s Rock N’Roll boogie is fused with (and propelled by) Funk in the unmistakable number Lay Down Stay Down. Lord sets the pace with typical piano (maybe recalling his own ARTWOOD days). Thunderous rhythm and maddening guitar twists. Every time the chorus is played, you’ll have the impression that they have increased the tempo’s track by 20%. Hughes vocals are enough to maintain lyrics (and choruses) on the way, while Coverdale this time shares vocal duties more equally than before. Good and entertaining number, an exercise in style that is just not as perfect as the previous ones.
‘Looking for trouble
I guess is there!’
Sail Away is the closest DEEP PURPLE comes to Progressive Rock in Burn. The martial bass lines and keyboard drones paint images of deep sea in our mind’s eye. Blackmore and Paice play a supporting role here. Coverdale, alone, sings about extended sea travels, the loneliness of the mariners in a quite melancholic tone. Tone that would be increased in next album’s Soldier of Fortune number. Here, the delivery is restrained, but not really sad, it only hints on sadness. Minimalist soloing closes the track, which I would qualify as the less essential on the album.
‘Sail away tomorrow…
Sail far away…’
You Fool No One if by far the most ‘jam-prone’ track here. Following a multi-rhythic pattern set by Paice’s many percussion devices (he brings back that cowbell he employed in 1969’s track Chasing Shadows), the freewheeling riffing from Blackmore matches the funkiest rhythms from Hughes. Lord delivers the much-needed melodic counterpoint to the whole thing and the track comes and goes, 5 minutes and you’ll think they just started. Many great soloing that, onstage, would be excuse for 15-plus minute jamming. Exciting number, recharging DEEP PURPLE for the last two highlights of the album.
You fool no one
Waiting to see if I’m gone’
What’s Going On Here is another magnificent 50’s-60’s traditional Rock N’Roll update. This cabaret boogie number finds DEEP PURPLE beating LED ZEPPELIN and ROLLING STONES in their own game. Dynamic piano, wonderful vocal interplay, impeccable rhymes, catchy choruses, funny lyrics, everything confers a fantastic atmosphere to the song, atmosphere that Blackmore brings to the top with his amazing soloing. There is no Blackmore solo like this! Electric Blues in its best. If you like Leslie West (MOUNTAIN), ERIC CLAPTON, STEVE RAY VAUGHAN etc, check this out! This flawless number is my favorite all-around, an underrated DEEP PURPLE classic.
‘Monday I’ll be floating I’ve been drinking all night
Help me make a move I can’t stand a line’
Full of starts and stops, the slow blues Mistreated is one of the towering achievements of the genre. Everyone is in fine form, but Blackmore and Coverdale exceed in their mastery. Blackmore pounds his very best extended soloing ever (even better than his ones in Highway Star, Smoke on the Water etc, and only on par with Child In Time’s short solo), pummeling and heartbreaking at the same time, as well as many great riffing. And what about Coverdale? He delivers his ultimate performance; so impassionate and thrilling he would keep the song in his WHITESNAKE concerts. This song deserves a whole book, not just a paragraph. Enough is to say lyrics are not very complex ones, and still the outcome is a cathartic experience (as much as LED ZEPPELIN’s Since I’ve Been Loving You). DEEP PURPLE really knows how to play the blues! Masterpiece!
‘I’ve been mistreeeeeeeated
I’ve been abuuuuuuuused…’
Last number is an instrumental – A200. Typical DEEP PURPLE – just no vocals. Layers upon layers of instrumental overplay. Keyboard buzzing from Lord, accomplished drumming from Paice, floating bass from Hughes and Blackmore emulating a harpsichord and then a maniac chainsaw of Hard Rock riffing. In the end, Lord’s Hammond fades in and out. When fading out wins, you’ll surely think: ‘Oh Man, these guys are so brilliant to the point of being over the top’.
DEEP PURPLE had a monster of an album, his best since Machine Head. They brilliantly played California Jam, sold a lot of records in the process…and, mere six months later, they released (comparatively) lukewarm effort Stormbringer. That lineup would never record together anymore – as Blackmore quit citing ‘musical differences’. He no longer coped with Soul and Funk incursions, founding RAINBOW, a Heavy Metal ensemble. Tommy Bollin would replace him. DEEP PURPLE MARK III was over.
Final words: Could DEEP PURPLE MARK III be even better then MARK II (that is to say, that lineup that made Machine Head etc.)? I think…it’s DIFFERENT, not necessarily better.
After all, what is better: a yellow MUSTANG or a black CORVETTE? If possible, I’d end with both. Musically, I’ll resort to keeping all DEEP PURPLE records and lineups close to my amplifiers. See ya!
