Released in 1974, “Burn” was the first album by the mostly new "Mark III" lineup of Deep Purple. The album sold considerably well and has gained strong critical acclaim throughout the years. Let’s take a look at “Burn” and see what makes this classic work so well.
The first difference you will surely notice with the “Mark III” lineup is vocalist David Coverdale, latter of Whitesnake fame. I have always enjoyed Coverdale’s vocals, and they often surpass Ian Gillian in terms of bluesy swagger and cocky sexual bravado. Additionally, lead and backup vocals are provided by Glenn Hughes of Trapeze fame. The power of two lead vocalists is quite interesting, and makes Burn quite a unique album. Title track “Burn” is a fairly standard Ritchie Blackmore composition, revealing the sound that would arrive very shortly with Blackmore’s next project “Rainbow”. The song does not really deviate from any other Deep Purple/Rainbow rockers, but does contain quite strong vocals and a lengthy organ and guitar solo respectively. The classic elements are nothing out of the ordinary, but Blackmore and Jon Lord really make the most of elements of classical music during their solos, it is quite interesting. Next, Deep Purple step fully into blues and soul mode with “Might Just Take Your Life. The swirling organ of Jon Lord drives the song along, and the Hammond playing on this album is simply some of the best rock organ work I have heard. Although a fairly standard 1970s rocker, the alternation between Hughes and Coverdale is quite enjoyable, not unlike other multi-vocalist bands like the Band. Lay Down, Stay Down sounds very much like a Whitesnake song. Centred around a Zeppelin-esque riff, the song is quite a stomper. Although both singers take turns here, I think that this very bluesy tracked is much more suited to Coverdale’s raspy blues howl. Hughes’ voice is a tad too high during this track, sounding somewhat comical and over-the-top. It is almost as if both men are fighting for dominance of the track, somewhat distracting. Additionally, like many of the songs on the album, the solos are simply way too long and get boring quite quickly. Although he is no doubt a great player, Blackmore’s playing had started to become quite bloated in terms of length. Deep Purple get funky with “Sail Away”, with keyboards sounding somewhat lifted from Stevie Wonder. The song is quite dark sounding, with a funky but murky bass/organ and effect-masked lead guitar. Coverdale delivers one of his best Purple vocals on this one, and has an intensity and strength in his voice that Hughes could only have hoped to have. Great song.
Side Two begins with the very 1960s sounding “You Fool No One”. The song reminds one of Cream, and the team vocals definitely start to become somewhat annoying at this point. However, it is on this track that Hughes really lets loose and shows quite a bit of range with a soaring vocal on the chorus. The lengthy solo did not really hold my interest, and sounded somewhat like a Santana knockoff. Overall, not a highlight at all. “What’s Goin’ On Here” is a very conventional blues rocker, sounding very 1950s inspired. The piano sounds straight out a blues club, but lies quite low in the mix, buried beneath Blackmore’s guitar until the piano solo. I think the song would have benefitted more from a screaming organ, and the piano just feels quite underpowered. The song is very standard, and feels like a quick jam cobbled together in a short time in the studio. “Mistreated” again reminds one of Whitesnake. The bluesy lament about lost love is a theme visited many times by Coverdale. The slow and plodding riff is quite well-suited to the vocals, which reek of sorrow and desperation. A great breakup song. My only complaint is the hefty solos by both guitar and organ. The song is a little lengthy, and did not need to be this long at all. The album closes with “A” 200, a more spaced-out adventure into recording. Synthesizers are accompanied by a marching-like beat sounding almost like a fanfare. An interesting instrumental, but the lack of vocals s simply cannot be forgiven with vocalists as good as Hughes and Coverdale in the roster. Blackmore does come in with some guitar solos, but it is too late to save this lame duck.
Burn is a good album, however far from classic. There is probably more here for fans of Whitesnake and Rainbow here than for Deep Purple fans. The bloated organ and guitar solos, and the competition for vocal dominance make the album feel a little showy, like the battle of five huge egos.
Rating-7/10
Rating-7/10
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