Deep Purple's first album since last year's departure of original vocalist Ian Gillan and bassist/composer Roger Glover is a passable but disappointing effort. On Burn, new lead singer David Coverdale sounds suitably histrionic, like Free's brilliant Paul Rodgers (rumored to have been Purple's first replacement choice). But the new material is largely drab and ordinary, without the runaway locomotive power of the group's best work.

The title track is a notable exception, attractively energetic, with appropriately speedy breaks. And "Sail Away" is a Free-like mesmerizer. "Mistreated" again sounds like that lamentedly extinct group, but is flaccidly lengthy (7:25).

They fill out the LP with the relentlessly mediocre single "Might Just Take Your Life," the stodgy blues-rocker "What's Goin' On Here," the commonplace Cream-like funk riffs and harmonies of "You Fool No One," and with a tedious Moog/bolero instrumental retread applying the coup de grace. Much of the LP is skillfully wrought and likable, and the new line-up has potential. But the Gillan/Glover spark that created "Highway Star" and other memorable Purple smokers is regrettably absent.

- Ken Barnes, Rolling Stone, 4/25/74.

Bonus Reviews!

Deep Purple is back after a restructuring, with new lead singer David Coverdale doing a commendable job replacing Ian Gillian. Glenn Hughes also works well on bass and as an added singer. This set varies somewhat from the band's recent efforts, with a little less "pin the people against the wall" music and some interesting blues numbers like "Mistreated." "Burn," the current single, is also a highlight of the album. Many groups lose a lot when two members leave, but Deep Purple are as excellent in their field as ever.

- Billboard, 1974.

Cream was schizophrenic. Like so many Sixties' British bands, they derived their instrumental style from American bluesmen. But they acheived their contemporary sound by recording the rock songs of bassist Jack Bruce. These were painfully humorless compositions, often devoid of intelligible melody, and sung in an oppressive style that overemphasized not just an occasional word, but every word. Cream was one of the most influential of all rock bands, but Bruce may have influenced as many singers as Clapton has guitar players. Many British rock-band vocalists sing (to one extent or another) in that same insensitive manner -- which is why I have trouble listening to some groups whose instrumental work I admire. Deep Purple has been around a long time, but in their current state they perpetuate Cream's schizophrenia. They display considerable command of their instruments (if little originality). But it's wasted behind the caterwauling of new vocalist David Coverdale, who sings some of the most godawful lyrics yet pressed onto vinyl with idiotic seriousness. On the group's behalf I note that they avoid the flip side of the worst of British rock, the wimpoid ballad. In fact, when they are burning instrumentally and everyone sings together (making the words easier to forget) they come up with a handful of acceptable, even pleasurable moments.

- Jon Landau, Rolling Stone, 6/6/74.

The hot poop is that after ten albums the Purps have a lead singer with soulish roots who can actually write songs. The cold turd is that the music sounds the same, as ominous and Yurupean as a vampire movie, only not as campy. C+

- Robert Christgau, Christgau's Record Guide, 1981.

Burn is Deep Purple's first album with lead singer David Coverdale. While it's not quite up to the standards of Machine Head and Made in Japan, it featured hot riffs and well-constructed heavy rockers to make it a Top Ten success and an album rock favorite. * * *

- Stephen Thomas Erlewine, The All-Music Guide to Rock, 1995.

Considering the circumstances -- Ian Gillan and Roger Glover's departure -- Burn is a remarkable feat, bringing David Coverdale and Glenn Hughes into the group without losing stride. * * * *

- Gary Graff, Musichound Rock: The Essential Album Guide, 1996.

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