Other Sellers on Amazon
Burn Expanded 2005
|Listen Now with Amazon Music|
Burn (Expanded 2005 Remaster)
|Amazon Music Unlimited|
|New from||Used from|
|1||Burn (2002 Remaster)|
|2||Might Just Take Your Life|
|3||Lay Down, Stay Down|
|5||You Fool No One|
|6||What's Going on Here|
|9||Coronarias Redig (2004 Remix)|
|10||Burn (2004 Remix)|
|11||Mistreated (2004 Remix)|
|12||You Fool No One (2004 Remix)|
|13||Sail Away (2004 Remix)|
Once named the world's loudest band in the Guinness Book of World Records, Deep Purple has triumphed over lineup and style changes to reign as one of the greatest, most iconic heavy metal/hard rock bands ever. In 1974, Burn, marked a creative revitalization for the legendary group with the addition of a pre-Whitesnake David Coverdale and post-Trapeze Glenn Hughes, who shared lead vocals throughout the blistering album. Purple cofounders Richie Blackmore, Jon Lord, and Ian Paice are in top form on the original eight masterfully heavy tracks, which are augmented by five scorching 2004 bonus remixes.
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.88 x 5.59 x 0.47 inches; 3.67 Ounces
- Manufacturer : Rhino/Warner Records
- Item model number : 1702825
- Original Release Date : 2005
- Date First Available : July 27, 2006
- Label : Rhino/Warner Records
- ASIN : B0007ZEO4G
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #8,110 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- Customer Reviews:
Reviews with images
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
Burn is Purple's eighth studio album, the first with the Mk III lineup of the band, recorded in late 1973 and released in February 1974. Indeed, after almost 4 years of steadily increasing success epitomized by back to back chart topping albums Machine Head (containing the mother of all guitar riff-driven classic songs, "Smoke on the Water") and the live "Made in Japan", Deep Purple seemed to be on top of the world. Little did the world at large suspect that singer Ian Gillan's relationship with founding member, guitarist and resident tyrant Ritchie Blackmore (I've said it before, and I'll say it again: I LOVE his music, but the guy has issues...) had evaporated. Gillan resigned to the band in late 1972 (half a year in advance) but agreed to fulfill the band's live commitments.
By the time the tour ended, Ritchie had entertained the idea of leaving the band as well and form a new project with drummer and founding member Ian Paice, even going as far as to work with Thin Lizzy main man Phil Lynnot. Purple's management envisioned to keep the band going with bassist Roger Glover and keyboardist and last remaining founding member Jon Lord. Indeed, the band had already survived a major overhaul in 1969 after replacing original members Rod Evans on vocals and Nick Simper on bass. But in a dramatic turn of events, Blackmore decided to stay in Deep Purple as long as Glover left (!). The search for new members was on well before the end of Purple's tour, and it had yielded a prospective candidate: bassist/singer Glenn Hughes from Trapeze. After initially declining the offer, Hughes had a change of heart and relented.
Blackmore wished to take the band in a wholly different direction, and he saw this shuffle as the opportunity to materialize his vision: instead of a single vocalist, the band would have a "main" frontman who would share vocal duties with Hughes to create a new, unique sound. The new frontman they had in mind was Paul Rodgers of Free fame, but as it turned out, Deep Purple tickled him in a wrong way by speaking about his possible involvement to the press, and he ended up turning them down to concentrate on another project, which would eventually evolve into Bad Company.
The band required a new voice. And after a grueling, long process that had them consider the possibility of carrying on as a quartet, they found a near unknown named David Coverdale, with little experience but great untapped talent. Purple retreated to work on new material for their next release, and unveiled their new lineup to the press in September 1973, before a single note of music had even been recorded. Shortly after that, they found themselves once more in the Swiss town of Montreux, where Machine Head had seen the light, and with the help of longtime producer/engineer Martin Birch, they got to it.
What did they come up with? A masterpiece, a TRUE classic of Hard Rock, no more, no less. Now, popular wisdom says "yeah, Burn has great songwriting, but it's not up to par with Machine Head..." Rubbish! Did it sell as much? Did it become a staple of (classic) rock radio? Maybe not, but I do not believe that a band's or an album's merits should or even could be measured by record sales and/or radio airplay. The proof is in the songs. Are they good? Do they move you? Do they rock? The answer is yes, yes, yes. Which takes me to the OTHER prevalent notion that exists about this album: "oh, yeah, Burn is fine, but it's a little too bluesy and funky for me..." What??? I've never really been able to digest that one: Purple made a name for themselves with slightly psychedelic, guitar driven, organ spiced, fast and furious songs and for the most part, that's exactly what you will find here. There are a few detours, granted, but not enough to justify that "it's too bluesy and funky" widespread opinion.If you're going to "accuse" Purple of veering away from their roots and original style and becoming too funky, groovy, bluesy, rn'b influenced, at least save that criticism for the right record (namely Stormbringer, another one of my favorites, change in style notwithstanding... but that's another story...).
The album starts with the pedal to the floor with its anthemic, fast paced title song: I can't imagine a better way to introduce the new band. All the trademark elements of Purple are here: the big and nasty guitar riff, the fast tempo, the incredible guitar and organ solos and on top of all, the tandem voices of Hughes and Coverdale, which really shine. The song is reminiscent of earlier hit "Highway Star", and it's very difficult for me to understand how any fan of Mk II can possibly NOT enjoy this. From the first time I ever heard this song, it grabbed me, and to this day, it just won't let go of me. Next is "Might Just Take Your Life", a midtempo number with a prominent organ riff that carries the tune for the most part, where the tandem of Coverdale and Hughes again takes the spotlight; it is a bit different, but not that much, really, it can almost remind you a little to songs such as "Woman from Tokyo".
Next is "Lay Down, Stay Down", another fast paced song where Blackmore has ample space to show his prowess, one of my favorites. The merger of the two distinct voices, Coverdale's deeper tone and Hughes higher harmonies, is simply brilliant, here and elsewhere on the record. This is probably the biggest change and the clearest personality trait from this lineup with regards of all other Purple incarnations, and one of the reasons why I enjoy this album so much: if you ask me, no other lineup of the band rivals the Mk III in sheer musical potential, live or in the studio. They wanted a new, unique sound, and they certainly got it: no other band has EVER sounded like this, before AND after.
"Sail Away" brings the pace down somewhat but again, it features a prominent guitar riff as well as some synth work from Lord that is absolutely great; again, one of my favorite tracks on the album and one where the tandem vocals really bring the song to another level, creating a contrast that is awesome, plain and simple. "You Fool No One" is another fast rocker that perfectly carries the Purple tradition, and a song that clearly displays Ian Paice's talent with a relentless drum work, as well as Blackmore's love for speed.
"What's Going On Here" is, indeed, somewhat of a departure: a slightly slower pace, a vaguely boogie rhythm, different instrumentation (Lord plays piano instead of organ and/or synth) and it features solos from both Lord and Blackmore that are somewhat more relaxed, with less of a sense of urgency as they had accustomed us, but it's quite a nice change of pace as far as I'm concerned.
Next is "Mistreated", another monstrous song, another classic. This is probably the other song that really shows the band's new influences and new direction. It is a slow, long blues number where Coverdale and Blackmore take the spotlight while the rest of the band concentrates on creating the right atmosphere for them to take over. It is an awesome track that picks up the pace for a blitzkrieg grand finale. The last song of the album is the instrumental "A 200" which features Lord's extensive use of synths, great drum and bass work from Paice and Hughes and a somewhat brief yet memorable participation from Blackmore, who comes in midway through the song to play a brain melting solo. Simply put, this album rocks from start to end.
Now, this thirtieth anniversary edition (devised by the Deep Purple Appreciation Society and EMI, Purple's label for the world outside the US, and picked up a full year later by Rhino) packs some added treats: the album has been completely remastered and expanded with help from Glenn Hughes to include five additional tracks especially remixed for this release. I'll be honest with you: I already owned Burn on CD, having bought it a couple of years before this re-release (in a especially priced British 2 CD set released by EMI that also included Stormbringer), and I was really looking forward for the remastering since I felt that my CD sounded a little too low for my taste, so I was really hoping that this one would rip my head off...alas, that was NOT the case...the album sounds somewhat clearer, but not that much of an improvement over my old CD, really...and believe me, I've spent enough time listening to this album to know every little nuance of it, so I would have immediately noticed if anything major about it had been changed, including volume levels...so if anyone tries to convince you to buy this album on the grounds of its "superior" sound, almost selling it as if it were a whole new thing, be warned: IT IS NOT A NEW THING! It's the same album, only slightly clearer.
The extra tracks? Oh, yeah, they're cool: "Coronarias Redig", a somewhat obscure b-side is a nice, funky, groovy, instrumental where Blackmore once again steals the show with his extended soloing, a nice addition to the package. The remixes are nice too, and I have to say that Glenn's taste essentially matches mine since he chose to remix my four favorite tracks from the album (only "Lay Down, Stay Down" is missing...) But no major surprises here: if you're expecting to hear disco beats, industrial heaviness, electronica flavors or even alternate takes of solos, you will be sorely disappointed.
According to the liner notes (the booklet is chockfull with pictures and information, quite valuable for a collector), there wasn't much in the sense of alternate tracks recorded for the album, so what you're going to find are small, blink-and-you-miss-it kind of changes: "Burn" features a slightly different sounding keyboard solo and some subtle additional backing tracks during the guitar solo, "Mistreated" features a slightly different guitar intro and outro (don't blink!), "You Fool No One" is probably the one that changes "the most" with an alternate guitar intro (very much like the one Ritchie would play live) and "Sail Away" features slightly different keyboards and a couple of additional backing vocals, but that's it. "Burn" and "Sail Away" feature insignificantly shorter fades, while "Mistreated" and "You Fool No One" feature the opposite (insignificantly longer fades...yawn...)
Bottom Line: this is a great record, five star-worthy if you ask me. Deep Purple had a lot to live up to, and they did. Is it in the same league as Machine Head? I'll let you folks come up with your own answer, but I honestly don't think that anyone who enjoyed the Mk II output of the band wouldn't enjoy this. Now, if you ALREADY own this album and are just feeling tempted by the remastering and the bonus tracks: BEWARE! You're NOT buying a new album, you're just getting it in a slightly updated, clearer, expanded form that, as far as I'm concerned, lacks punch, and one that has very little "new" to offer other than "Coronarias Redig". I guess if you're a completist (such as yours truly) or a Deep Purple freak (again, such as yours truly...), you won't mind all that much, my only observation/complaint being the one I did about the remastering not being as "in your face" as I had hoped.
But if you are one of those people who, for whatever reason, have hesitated to get this album, this is the moment to make up your mind: this is a great hard rock masterpiece (totally underrated if you ask me...) that would make a fine addition to any true rock fan's collection. This is Purple at its most dynamic and free, and if you ask me, at their best. Oh, just one last thing: you might wanna reconsider buying one of those imports editions: they have the EXACT SAME content, so you would be paying up to four times as much just for the additional outer sleeve. Get this one instead and... Play it `til it Burns!!!!
The dual vocalist approach of Glen Hughes and David Coverdale make Deep Purple - Mark III not only unique but extremely powerful in concert. Check out their performance at California Jam 1974 where the bulk of the songs were from Burn. Compare led Zeppelin's 1973 lack lustre affair in 1973 at Madison Square Garden which came out as a "soundtrack" called The Song Remains the Same. As many Deep Purple fans have noted, how many changes did Jimmy Page make to The Song Remains the Same ? In contrast the following songs of the album Burn - Burn, Might Just Take Your Life Away, You Fool No One and Mistreated became concert staples until Ritchie Blackmore left in April 1975.
Apart from the dual vocalist approach, the songs of BURN flow and Deep Purple - Mark III finally break the meat potatoes mould of Deep Purple Mark II. Yes, the Mark II line-up gave us the brilliant In Rock, the underrated Fireball and the perfect Machine Head. Rock. as perfect as Machine Head was with arguably, one of the strongest and loudest voices in rock (pun intended) Blackmore wanted more .... he wanted a blues based vocalist. This is what Mark II fans cannot understand. Burn introduces us to Mark III breaking the mould and playing brilliant blues and funk. BURN ..... is Blackmore's attempt to include blues into Purple's approach. From April 1974 onwards Ritchie Blackmore bends the strings on his Stratocaster and incorporates his love for blues AND his love of the classic arpeggios. This is what the word "funk" in the hard rock world has a myriad of meanings. I mean that guitar blends into the bass and organ as opposed to the band simply following the lead guitarists. Blackmore had his way (briefly as a year later he was gone .... due to funky excess) and Deep Purple were more melodic, had a wider range and reached more females. The Mark II period put Purple in the Black Sabbath cock-rock market and Blackmore wanted to reach the Zeppelin arena .... which they did with Burn.
The absolute masterpieces on the album Burn are Might Just take Your Life Away, You Fool No One, the guitar work on A200 as well as Mistreated and of course the BEST and hardest rocking riff of all time ... the song Burn. The ultimate test for a rock band is the live arena. Deep Purple and the songs of the album BURN killed it. I have not only listened and watched the 1974 California Jam performance but have listened Mark III - Live in London, Live in Austria (the Graz) and Live in Paris. Brilliant numbers like Might Just take Your Life Away, You Fool No One and the solos in Mistreated improved with every concert
The strangest part is the relatively subdued role of Jon Lord on this album. His supercharged keyboard playing is what drove the earlier albums, but here he is much more restrained, and in fact much further back in the mix, and it shows in the sluggishness of quite a few songs.
If you like your rock more mellowed-down and funky then definitely pick this album up. It's got some great stuff on it and won't disappoint. If you want the supercharged, piledriving, foot-stomping stuff, look to In Rock, Machine Head or Made in Japan instead.
Top reviews from other countries
The first album from the new line up was a departure from the pure heavy rock sound they had pioneered with the Mk 2 releases, and sounded fresh and energetic. The inclusion of new blood worked wonders for the band's creativity. The basis of the sound is still the heavy rock, and any rock fans will love this. It's also got a flavour (not much, just a flavour) of funky soul to show the influence of the new band members. It also has a slightly more blues feel to it.
Personally I think this is one of their most consistent releases, with track after track of great music and no filler. It's one of the few of their albums that I play end to end without skipping any. And I love the sound that they were developing, especially on the title track and Lay Down, Stay Down, two classics in the Purple canon.
The 30th anniversary edition contains the original album remastered, a contemporary B side (Coronaries Redig, which has a silly name but is a classic blues/funk/rock workout) and a series of remixes. The remasters are pretty good, with a crisp clear sound. I have to say that the remixes do little for me and I often listen to the original album plus B side and skip the remixes.
5 stars for this classic album.
It kicks off with the title track, an absolute classic. The following songs are a bit more bluesy, but still retain Purples hard sound.
Bonus tracks include Coronarius Redig, a brilliant soul/blues instrumental.
The whole band were on an artistic high point with this album.
I won't make that mistake again.
With hindsight, I think David Coverdale probably profited most from this, since it's essentially what became the Whitesnake sound, rather than the Deep Purple of old. Personally I think they changed a fair bit, but since they replaced 2 members of the band & the vocals is the main focus of any band, this was bound to happen.
With it's modern production, it doesn't sound out of place alongside current rock music. So if you missed it first time, or aren't old enough, give it a try.