Deep Purple
Come Taste The Band

Some say, without any doubt, that the Deep Purple without Ritchie Blackmore are an opaque entity, emptied of that guitar and compositional forge that radiated light, for those who were lucky enough to attend a Mark II concert. Imagine, then, how the most "extremist" fan might have reacted to the news of the departure of the leader, the father-master. The same one who had spit fire from his Strat with the opening riff of Speed King, was now leaving his creation, to shape another that would have equal importance in the history of hard rock: the Rainbow.

After the release of "Stormbringer" in 1974, the tensions within the band became increasingly uncontrollable: on one side were Blackmore and Lord, who wanted to continue down the path they themselves and the Zeppelin had blazed between '69 and '70, on the other was the Coverdale-Hughes duo pushing for increasingly prominent funky-soul inserts. The result of those furious discussions is well known: Blackmore left to give free reign to his neo-classical guitarist nature.

In his place, the virtuoso Tommy Bolin was recruited, who in previous years had already recorded a fundamental album for jazz-rock, Spectrum with Billy Cobham. The American guitarist was perhaps the only one in the music scene back then capable of worthily replacing the Man In Black. And so it was.

Despite its less than exceptional commercial success, even today "Come Taste The Band" is considered one of the most substantial albums by Purple fans, for its visceral ability to wisely blend funky and soul even more than in "Stormbringer," atop a strong purely hard rock foundation. Those who feared that with Blackmore's departure, the sound would shift further towards funky, will be pleasantly surprised; Mark IV is composed of musicians of grand caliber, who represent Deep Purple in every respect. It's not possible to forgo enjoying an album of such caliber, just for the absence of the legendary Gillan, Blackmore, and Glover. Deep Purple is also this.

It starts, as it does with "Stormbringer," with a track with a strong hard rock flavor: "Comin' Home". It's sunny hard-rock, with a strong impact, funky flavor, thanks to the use of fast rhythms and choirs. Coverdale's voice, usually bleeding for the blues, adapts well, then gives way to the first surge of Bolin's guitar, who in the finale gives us a taste of what he is capable of. The next "Lady Luck", not much different, is characterized by more syncopated rhythms and a chorus that will delight the charts. Noteworthy is Bolin's embroidery, who seems to "plug" all the rhythmic holes with the notes he fires, then indulges in ever-exciting mini-solos. Coverdale is consistently impeccable, and Paice adequate, seeming to control without excessive expenditure. But let's move on to track number 3, "Gettin' Tighter", where Hughes takes the stage for the first time. Glenn's voice, profoundly different from Coverdale's, reaches up to the high layers of the atmosphere, it's hysterical, yet controlled, seeming to want to explode at any moment. Here Lord, Paice, and Bolin do a superb job of accommodating him in the execution. Between a break and a funky diversion, halfway through the song the stage is again all for Tommy Bolin, who launches into a sprawling solo, made of insanely fast notes with enviable cleanliness even for a certain Blackmore, pleasing the listener's ear for two minutes or a little less.

"Dealer", is still Bolin's domain, the fiery opening riff is a prelude to what is about to happen: everyone else is invited to the party. The guest of honor is just one: from the downright perfect guitar overdubs, it's clear that the guitarist is inspired and in shape. Just another excellent performance by Coverdale, who initially gives way to Hughes, who almost seems to candidly announce Bolin's entry, but then the last outburst of Coverdale breaks the scene and throws open the doors to the new Deep Purple guitarist. Tommy's solo is truly exceptional, a concentrate of inspiration and technique, and no one misses Blackmore. New perfect guitar overdubs in the finale, with Paice placing some rolls worthy of him and Lord slightly in the background (as he is throughout the album. The keyboardist just accompanies). Track number 5, "I Need Love", necessitates the semi-ballad (although in this album, given the tight rhythms imposed by Bolin, there are no real ballads), on a funky base, Bolin embroiders again between riffs and disdainful guitar shouts that first ignite and then fade, Coverdale's calls and Paice's responses. It seems like an album tailor-made for Tommy Bolin, who enchants again in the finale, this time with unparalleled delicacy in caressing his guitar strings. Glenn Hughes is a great bassist, but his voice is even more important for this album and the history of Mark IV. He proves it in the finale when his voice provides the backdrop to Bolin's last devastating forays. With "Drifter" the script doesn't change. Great opening riff that extends practically throughout the track, continuous overdubs, lightning echoes, piercing Coverdale like never before, and a chorus again with strong appeal, finally using the two voices. As if by chance, in the central part another spine-tingling solo by Bolin, and brief rhythm slowdown, paced by Paice, Hughes's voice, and Bolin, who here incredibly recalls Blackmore. Then everything ignites again in the finale, with Paice hitting hard and the others following suit.
 
We're on track number 7, "Love Child", opened as always by a mighty Bolin riff, guiding Coverdale who walks on the note carpet laid by Hughes's bass and Paice's drums. Rhythm that advances almost pushingly, an excellent performance by the whole group. Finally, Lord grants us a mini synth solo, reminding us who the only old soul of the Purple left is. Track number 8 "This Time Around/Owed to "G"", very experimental, is one of the best tracks on the album besides being the longest. In the first part, in an almost enchanted aura, Hughes sings to the angels, accompanied by Lord's piano and his own bass. Hughes's singing becomes increasingly nervous, until introducing a sudden change in the song: Paice introduces new Bolin lightning, who for the remaining three minutes delights us with his exceptional technique, but never for its own sake, designated to the full "punch in the stomach", the hallmark of true hard rock. We're at the grand finale, perhaps the best track of all, "You Keep On Moving". Paice rolls the sticks across the cymbals, Hughes starts to make himself heard, this is his song. Paice overturns the rhythms and Bolin wants to be part of the game, with driving riffs and inevitable lashes. Even Lord doesn't miss the final dance and in the middle of the song, grants us his remarkable and unfortunately only solo of the album, but which repays the wait. Coverdale couldn't miss it, inserting himself with his always potent, almost furious voice, like a perfect disappointed lover, in love only with the blues. In the finale, the two voices unite in a wonderful unison, all the instruments are polished, and Bolin towers imperiously for a last touch before launching into the spectacular final escape.

It's the missing signature, on a delicately crafted work, almost a flout at Blackmore, almost as if to affirm "we have found a great replacement and we can design an entire album tailor-made for him". And what an album, gentlemen. Just open the package to find yourself faced with a touch of class that makes you tip your hat: the glass once completely full on the cover, of good red wine on which stood the smiling faces of our quintet, is now completely empty on the booklet, with only lipstick traces on the rim, indicating that those feared lips have finally come to drink even the seemingly unstoppable bandwagon. Great groups understand, before any pseudo critic or Sunday fan, when an era is now over.