Deep Purple - Burn [30Th Anniversary Edition] (1974)

Burn
An all-time classic piece of music with a great rock riff (possibly thanks to Gershwin) and some nicely placed - yet not overplayed - classical passages, "Burn" is a dark, brooding hard rock song and precursor to what would come in the form of Ritchie Blackmore's Rainbow. The vocals are strong, and the track provides a perfect canvas for Coverdale's launch and allows Glenn Hughes to break free during certain passages.
Might Just Take Your Life
The single from the album and a sudden change in direction, this great little rock song pumps along in a lighter vein. Jon Lord's Hammond organ plays main stage throughout and Blackmore holds off a little. Coverdale and Hughes really let loose, but it is the pop-formulated arrangement that makes this an ear friendly number. This is a nice tune, delivering the goods with a different sound, not taking away from the darkness of the title song.
Lay Down Stay Down
Probably my least favourite track on the CD, this is a great thumping number regardless. It contains one of those "Where have I heard that before" Blackmore riffs and some great little interludes. Glenn and David's vocals mold together well, and the song stands firm in its position, larking away between the pumping of "Might Just Take Your Life" and the relaxed nature of "Sail Away".
Sail Away
"Sail Away" is a beautiful song that expresses a spiritual side of the new Purple sound. Coverdale really shines in this number and the rhythmic syncopation of Paice's snare and bass work really keeps this floating piece uplifted. Definitely a favourite of the album and similar to what we would hear on the follow-ip album, "Stormbringer", Blackmore's slide guitar work is sublime and the bass work from Glenn is so tight.
You Fool No One
This is another track that became a live mainstay in the band's set list. "You Fool No One" is rhythmically energetic and gives drummer Ian Paice an opening to do his thing while the Coverdale / Hughes vocal team sustain some dual passages and arrangements that really do highlight their abilities, based over a drum solo and some musical grooves.
Mistreated
Another highlight from the album and a chance for David to perform solo heartfelt vocals alongside Ritchie's weeping guitar, "Mistreated" is haunting and dynamic Purple. This is a song that would never have been made possible without Coverdale and the space he allows Blackmore to move around in. As much as Gillan is an incredible tour de force it is music like this that illustrates that Mark III was a totally different band. One of the greatest moments on the album is David Coverdale's outburst at 2:11 and Lord's organ sounds so holy, especially with Hughes' tight bass parts matching his organ bass.
"A" 200
As a filler instrumental piece (sometimes used in their live set during the extended instrumental soloing) and closer to the original release, it is an interesting classical excursion based around a bolero that gives Jon Lord and Ian Paice an outlet. This is more of a piece of fun, yet - critically - does not compete with the amazing "Mistreated".
Coranarias Redig
This instrumental B-side, remixed from its original incarnation stands alone as a cool little funky number. It's not just a vehicle for some Blackmore on ten, but a great way to show what the band could do minus a lead vocalist. Glenn Hughes plays some intense, tight bass, and Paice's drums are sounding as tight and crisp as ever. It's worth the purchase price of the CD to hear this (and the "Burn" remix).
Burn (remix)
This remix really only serves to enhance the quality and definition of the drum rolls, bass guitar and vocals and generally tidies up the sound. It proves that the original mix has little to improve on the dark nature of the piece. An absolutely incredible quality difference is evident with all of the remixes and it is a pity that the whole album wasn't remixed (as has been done with the "Machine Head" 30th anniversary release).
Mistreated (remix)
"Feel it for me", says David Coverdale at the outset and it's little comments like this and other weird studio sounds that make these remixes so good. The overall quality is incredibly sharp, yet - as with "Burn" - there is nothing especially different from the original version in terms of mix other than to tidy up and define the instruments. An excellent job has been done to the sound enhancement here on all tracks.
You Fool No One (remix)
After some crazy studio sounds, the remix really highlights Glenn's vocals, the percussive sections of Paice's tom-tom and cowbell work and the overall raw energy of this piece. This song has an infectious quality about it and the remix has an enhanced attraction.
Sail Away (remix)
At 12 seconds under the original timing, the guitar sounds are more crisp and defined and the bass end moves through the floor thanks to some involved bass work from Mr Hughes who has stood out through most this release. The song never loses interest, even after multiple listens - remix or otherwise.
(musicstreetjournal.com/artists_cdreviews_display.cfm?id=100731&art=102472)