DEEP PURPLE - Burn. Japan (20P2-2608)

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Fecha: Martes, 2015-03-10, 3:39 AM | Mensaje # 1

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DEEP PURPLE - Burn
Japan (20P2-2608)

Reedición japo del octavo álbum de Deep Purple y primero con Coverdale y Hughes en la banda, tras la salida de Gillan y Glover. Con ramalazos de boogie, soul o funk, aun así contiene temazos de Hard Rock clásico como el que da título al disco.

Tracklist:

1 Burn 6:04
2 Might Just Take Your Life 4:39
3 Lay Down, Stay Down 4:19
4 Sail Away 5:52
5 You Fool No One 4:46
6 What's Goin' On Here 4:59
7 Mistreated 7:27
8 "A" 200 4:04

Codec: EAC-FLAC
Tamaño archivo: 318.89 MB
Portadas: Todas a 400 dpi.

Disponible sólo a los usuarios

Japanese reissue of Deep Puple eighth studio album and first with Mk 3

From Metal-Archives:
The mighty Mark-II line-up broke-up with the departure of both Gillan and Glover, and Purple was once again looking for a singer and a bassist. The band got completely exhausted after the extensive tour for their masterpiece Machine Head, showing signs of decline on the following record Who Do We Think We Are, whose decent but inferior result compared with the preceding 3 albums made evident the need for change. Coverdale and Hughes were the ideal replacements that contributed essentially to the band’s sound modification, with certainly alternative styles to Roger and Gillan’s, also coming from different backgrounds and providing Purple of an unexpected funky essence.

This is one of the most diverse albums these guys ever did; they alternate different styles and influences on each cut. It’s totally clear from the very first number that there’s going to be no repetition or sequel of any of their previous releases. “Burn” is unique and speaks for itself, an advanced power/speed metal pioneer composition that denies all stereotypes and topics of 70’s hard rock with that rapid tempo, dynamic main riff and vital presence of melody and progression. No other in the pack is that fresh and inventive, featuring such an immaculate execution, admirable virtuosism and the talent of each group member during the delightful solos, those vivid vocal choruses and the whole cut development. However, the rest of this stuff offers a stunning variety of sounds, more traditional and usual for those times like the melodic heavy metal on “Might Just Take Your Life” or “What’s Goin’ On Here”, including incessant vocals and an absolutely elegant instrumental configuration, simplified from the opening title-track complexity and much more cheerful. Deep Purple recover aggression and speed with “Lay Down, Stay Down” and “You Fool No One” with Blackmore’s riffing very insistent and Paice’s loose rhythms making them so vigorous. Vocals once again take some control, ideal to sing along although once instrumental parts begin it’s time for instrumental supremacy and technique. Pickin’ parts are constantly rich and remarkably defined in those lengthy breaks exclusively conceived to let both Lord and Blackmore perform their extraordinary solos. The futuristic ““A” 200” is another expression of this record majestic instrumental display on which Jon has the chance to explore extravagant organ textures, while “Mistreated” puts all emphasis on Ritchie’s expressive leading riff and Coverdale’s melancholy voice.

An excellent work that meant the beginning of a new promising era for Purple. They refused to get stuck in the past and repeat the same formulas of the Mark-II years. Now they concentrate more on melody and sophistication, with those cleaner arrangements, not giving riffs all control because Hughes and Coverdale’s charming voices also become decisive to construct the songs. The combination of David’s powerful though tone with Glenn’s casual presence was fantastic; both are in complete synchronization giving the group’s music class and excellence. Velocity and aggression are still present, in a smaller percentage than before (Remember Deep Purple In Rock?) but still notable, innate on these tunes. It seems this time these guys wanted to offer something polished and more elegant, actually guitars aren’t that distorted and Lord’s organ moves away from the dirty texture of previous attempts. Instrumental difficulty hasn’t been modified, their intricate patterns and skilled passages are omnipresent elements here, even on those simpler tracks they manage to introduce some progressive sequence and solos to remind us their nature hasn’t changed, they still want it complicated. The exhibition of virtuosism is brilliant, Mark-III was also another super line-up lead by the 3 veterans in state of grace, supported by 2 new members who lack no potential or charisma, young blood for Purple. I must highlight Hughes’ very crude competent bass lines, which you can hear each second, sometimes even pickin’ and playing the riffs as a second rhythm guitar, brave and secure, and also the important contribution of both musicians on the song-writing process. They didn’t come to play and get paid only, they put their passion and ideas to build this new astonishing sound which made the band prevail and survive to the departure of Gillan and Glover.

A record that made a difference from the rest, its sound is undoubtedly advanced and surprising if you compare it to what most of bands were doing back then. These guys made their crucial contribution to heavy metal with the first number, specially, but in general weren’t they who invented it along with Black Sabbath? Their name might not be mentioned so often when people speak about the origins of metal, unfairly, but you listen to albums like this and soon realize this is where it all really started. Double bass-drums speed metal rhythms started with the Fireball title-track, “Burn” sounds pretty much of power metal and didn’t Deep Purple In Rock give absolute attention to aggression and speed like nobody else conceived before? Come on, let’s give them the credits they deserve.

NO A LA LEY LASSALLE