Lick Library Classic Albums Deep Purple Burn [TUTORiAL]

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P2P | 02 January 2024 | 3.73 GB

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Burn is the eighth studio album by the legendary British rock band Deep Purple, released in February 1974

This album marked a significant change in the bands lineup, as it was the first to feature then-new members David Coverdale (vocals) and Glenn Hughes (bass, vocals), who replaced Ian Gillan and Roger Glover, respectively

However, the guitar wizardry of Ritchie Blackmore remained intact, and this album showcases his incredible talent and innovative techniques

Burn hit number three on the UK Albums Chart and number nine on the US Billboard 200, making it one of the bands highest-rated and critically acclaimed releases.

In this guitar lesson course, LickLibrary veteran Danny Gill walks you through the many highlights of each song from this essential album one phrase at a time, including Ritchie Blackmores legendary guitar riffs and lead lines from tracks such as; “Sail Away,” “Burn,” and the epic “Mistreated.”

Ritchie Blackmore: The Lead Guitarist
Ritchie Blackmore, a founding member of Deep Purple, is considered one of the most influential guitarists of all time

His contributions to the Burn album were immense, providing both driving riffs and mesmerizing solos

Blackmores style is a blend of blues, rock, and classical influences, with a heavy focus on melodic lines and virtuosic techniques.

Blackmores playing is characterized by a combination of aggressive picking and smooth legato phrasing, giving his solos a unique sense of fluidity and precision

He is known for using a variety of scales and modes, ranging from the traditional pentatonic and blues scales to more exotic choices such as harmonic minor and diminished scales

His use of these diverse scales allows him to create tension and resolution within his solos, resulting in a dynamic and expressive sound.

In addition to his technical prowess, Blackmore is also renowned for his innovative use of guitar effects

He was one of the early adopters of the wah-wah pedal, which he often used to add extra texture and expressiveness to his solos

Additionally, Blackmore frequently employed tape echo and phasing effects, which helped to create a sense of space and depth in his playing.

Track-by-Track Analysis

1

Burn
The albums opening track and title song, Burn, is a high-energy rocker that showcases Blackmores prowess

The main riff is based on the G minor pentatonic scale, featuring palm-muted power chords and a galloping rhythm [^1^]

Blackmore employs a variety of techniques throughout the song, including string bending, vibrato, and alternate picking.

Blackmores solo in Burn is a masterclass in rock guitar playing

He begins with a rapid ascending run, utilizing the G minor pentatonic scale and making use of the hammer-on and pull-off techniques

The solo continues with a series of tasteful bends and vibrato, showcasing Blackmores excellent control and expressiveness

Towards the end of the solo, he employs a series of tremolo-picked runs, adding intensity to the climax of the solo.

2

Might Just Take Your Life
This bluesy track starts with a Hammond organ intro, followed by a powerful riff in A minor, which serves as the backbone of the song

Blackmores solo features a mix of pentatonic and blues scale licks, with an emphasis on bends and slides.

During the solo, Blackmore demonstrates his ability to create tension by incorporating chromatic passing tones and double-stops

He also uses pre-bends and pinched harmonics to add a unique and expressive character to the solo.

3

Lay Down, Stay Down
Lay Down, Stay Down is an up-tempo rock song in E minor, featuring a driving riff and a catchy chorus

The main riff showcases Blackmores ability to create syncopated rhythms, using palm muting to accentuate certain beats

The pre-chorus section introduces a dual-guitar harmony, which adds a melodic layer to the song.

The guitar solo in this track is a blend of E minor pentatonic and E Dorian licks

Blackmore employs a variety of techniques, such as legato, alternate picking, and string bending

He also uses unison bends to create a powerful, vocal-like quality to his solo.

4

Sail Away
Sail Away is a mid-tempo track with a prominent bass line and a moody atmosphere

The main riff is built around a D minor chord progression, utilizing barre chords and arpeggios

Blackmores solo in this track is more restrained compared to other solos on the album, focusing on melodic phrasing and the use of sustain to create a sense of space.

The solo is primarily based on the D minor pentatonic scale, with occasional chromatic passing tones

Blackmore utilizes trills and tremolo picking to create an engaging and dynamic solo, while still maintaining a strong sense of melody.

5

You Fool No One
You Fool No One is a high-energy track that features a strong riff in C# minor

The main riff is characterized by rapid power chord changes, interspersed with open-string riffs

The song also features a middle section with a galloping rhythm, further emphasizing the tracks intensity.

Blackmores solo in You Fool No One is a whirlwind of technical mastery

The solo begins with a flurry of hammer-ons, pull-offs, and slides

As the solo progresses, Blackmore introduces two-handed tapping, adding an extra layer of complexity to the already impressive solo

The climax of the solo incorporates sweep picking and rakes, demonstrating Blackmores exceptional versatility as a guitarist.

6

Whats Goin On Here
This bluesy track in A minor features a catchy riff and a soulful vocal performance

The main riff showcases Blackmores use of double-stop bends and bluesy bends, adding an extra layer of expressiveness to the song.

The guitar solo in Whats Goin On Here is a fine example of Blackmores ability to incorporate blues phrasing and technique into his playing

The solo is primarily based on the A minor pentatonic and A blues scales, with a focus on bends, slides, and vibrato

Additionally, Blackmore employs octave melodies to create a more distinctive sound in the solo.

7

Mistreated
Mistreated is a slow blues track in D minor, showcasing Blackmores ability to create an emotional and powerful soundscape

The main riff is built around a D minor chord progression, featuring power chords and arpeggiated chord progressions.

The guitar solo in Mistreated is a testament to Blackmores mastery of blues phrasing and dynamics

The solo begins with a series of slow, soulful bends, utilizing the D minor pentatonic scale

As the solo progresses, Blackmore incorporates harmonics, double-stops, and chromaticism to add depth and variety to the solo

The climax of the solo features a series of rapid hammer-ons and pull-offs, bringing the solo to an emotional conclusion.

8

A 200
The final track on the album, A 200, is an instrumental piece that showcases the bands musical prowess

The song features a driving riff in A minor, with Blackmore employing various techniques, such as alternate picking, legato, and string bending.

The guitar solo in A 200 is an opportunity for Blackmore to showcase his technical mastery and versatility

The solo begins with a series of rapid-fire pentatonic runs, utilizing alternate picking and slides

As the solo progresses, Blackmore introduces various techniques, such as two-handed tapping, sweep picking, and tremolo picking, demonstrating his diverse range of skills

The climax of the solo features a series of dive bombs and whammy bar tricks, showcasing Blackmores ability to create a dramatic and powerful finale to the album.