I've been losing my mind

Deep Purple - Burn - 1974

When Ian Gillan and Roger Glover left Deep Purple after their Japan tour of 1973, Deep Purple was at the peak of their career. Yes, Who do we think we are got very bad reviews and reception and, while I like it quite a lot, it is an album that was rushed. Still, they had deservedly earned their reputation and I can only imagine what a shock it must have been for the remaining members.
Shocked or not, they didn't stand still and hired Glenn Hughes, from Trapeze, in bass and vocals, and a completely unknown guy called David Coverdale, to do lead vocals.
Still today, MkII is considered universally to be the "definitive" Deep Purple and, still today, fans are wondering how big the band would have been with that lineup. I think because of that, people sometimes forget how brilliant this album really is.
On the one hand, I think the new members brought a breath of fresh air to the band. We can ask ourselves if the previous lineup could have managed to repeat their greatest moments without repeating themselves too much, but they did seem to be a bit stagnant, and the change took the bands into new territory musically, giving them a more bluesy and soul, and at times even funky sound which, listening to this one again, I think was a great thing because, if nothing else, proved that this was a brilliant band that could amaze at a whole new range of styles.
There's also the whole Coverdale vs. Gillan debate. I think it's a bit futile, mostly because they're two very different types of singers. Now, I have said it before, and I'll say it again: I love Ian Gillan, and I think he is one of the finest, most insanely gifted singers in hard rock.
But let me tell you a story. When I first heard this album I was probably 12 or 13 years old, and my knowledge of English was limited at best. I do remember listening to "Mistreated", not really understanding what that guy was singing about. But I knew something right away: that guy was heartbroken, suffering, and in an awful lot of pain. And I think that's one thing that David Coverdale brought to the band. Mind you, I'm not saying that Gillian couldn't convey emotions, far from it. But Coverdale is an absolute master at conveying emotion. His voice also has a unique texture, and it's much bluesier, sleazier and less clean than his predecessor. And I think these are all great things. I think because of him having replaced Gillan, people sometimes fail to realise what an amazing vocalist he really is.
For me, this may be a bit of an uneven album, there are a couple of songs I never really liked too much, like "You Fool no One" or, ironically, the single "Might Just Take your Life". But this is an amazingly solid album, and it definitely ranks high up in my personal DP ranking.

• The opening track, "Burn" is one of the strongest Deep Purple openers. And this is a band that always had a habit of kicking your in the head with their openers. It's not only relentless and fun, but it's brilliantly performed.
• On the negative side of the change in vocals, we have Glenn Hughes. I dislike his tone of voice so much that I don't think I can objectively talk about him as a singer, and the bits he sings on his own always annoy me. When he and David sing together, though, it's actually very cool, and I hadn't previously noticed how well they complement each other in duets. 
• If "Mistreated" made me feel sorry for the suffering of the guy, "Sail Away" made me have a crush with the guy. Not many singers can do sensual like Coverdale can.
• What's in a name? "A-200" is a track that I had pretty much discarded for years, considering nothing but a pseudo-futuristic electronic thing. I now realise that it's actually pretty good
• Of course, I'm going to put "Mistreated" here. It's an awesome song, and I love how vocals and guitar complement each other. This is a live version, and it's 10 minutes of pure awe and wonder.

Inside out gonna burn tonight

Sweet - Sweet Fanny Adams - 1974

I always have a lot of problem telling some 70s glam rock bands apart. Sweet and Slade are a big problem for me, and I never can remember which songs are by which band. 

I also happen to know very little about their story or band members. I know these guys started as The Sweet and they were, initially, pretty much a bubblegum pop band, but as this is the first album I have by them, I had to go and look their previous stuff up and I found this song called "Funny Funny" that makes the early Beatles sound like Black Sabbath. 

But clearly they evolved a bit and in this one, their second album, they show an interesting level of variety, ranging from the classical glam-rock 1950s revival style songs, to a couple of heavier rockers and, of course, some classic glam songs like "Ballroom Blitz", which actually was a bonus track but it's too much fun not to mention. 

This is glam rock at its best: it's not going to change your lives, or blow your mind with the quality of the performances, but it's always fun to listen to, and in a time in which progressive rock bands were attempting to sound more complicated than Beethoven (mostly failing), these guys, at least, had much more of the right attitude. 

• The opening track, "Set me Free" would, in the future, be covered by a bunch of metal bands, including Saxon. I can see why. It's heavy, it's fast, and it rocks big time.
• The title of the album refers to a little girl that was murdered in the 19th century. Somehow (don't ask me why, I know why, I'm not telling because it's gross), the expression "sweet Fanny Adams" came to mean "nothing at all". It's also styled as "Sweet F.A.", which is also an avoidance of "fuck all". 
• The title track begins with the line "It's Friday night and I need a fight", which is the same line with which, many years later, Motley Crue would start their classic "Girls, girls, girls". 
• I was going to put "Ballroom Blitz", because it is one of my favourite tunes from 70s glam rock. But I'm putting "Set me Free" because it surprised me, and I hope it surprise some of you too.

So dry your tears, I say

Bob Marley & The Wailers - Natty Dread - 1974

Yes, I know, someone out there will see this and wonder how it's possible that I don't like what's considered one of the greatest reggae albums of all times. 

Well, for starters, I don't really like reggae. I don't mind it, it doesn't bother me, but I never really understood what the big deal is. 

As for this album, I gave it an honest listen, to see if time had given it some extra value, or if I would find some revelation in it. But no, it's just a reggae album, and there's not much I can say about it. "No Woman, No Cry" is a great song, but the live version is much better than the original one. 

If I was talking to the album, I would tell that classical break-up line: "It's not you, it's me". And, in this case, I guess it's true. 

I'll try again in a few years to see if I get it.