Come Taste The Band/Deep Purple Mk IV

The 1975/76 "twilight" period of the original Deep Purple is customarily deemed to be most noteworthy, by many people, for the extracurricular antics of certain band members, and the setbacks which afflicted the group. The Mk IV line-up (signifying the arrival of Tommy Bolin in the line-up) only released one album, Come Taste The Band, in October 1975.

While it is fair to say that the post-1973 output of Deep Purple lacked the eclectic quirkiness and humour of the Mk II line-up, mostly due to the loss of the Gillan/Glover songwriting input, it would be unfair to universally denigrate it as meat-and-potatoes hard rock. Come Taste The Band has a certain energy and intensity about it.

I have heard it said that this is not a "real" Purple album.  This notion possibly stems from the absence of Ritchie Blackmore, and the fact that much of the creative strength on the record comes from David Coverdale, Glenn Hughes and Tommy Bolin, thus bringing about a different sound.

In tone the LP is very much of its time, exuding some of the ennui and hedonism of the mid-Seventies. The active participation of the newer members of the band, and the shrinking input of the Purple "old guard", gives the album its feel, with soul, funk and blues influences more to the fore.

David Coverdale's vocals are agreeably soulful and bluesy in the best bits, with the song "I Need Love" springing to mind in this respect. That song also has a strong R&B component, with a funky interlude in its middle section. "Drifter" has a contemporary, frenetic style, and "Love Child" prefigures later hard rock in some ways.

It is also pleasant to hear Jon Lord's organ actually sounding like a proper organ, and not constantly seeking to imitate guitars. It adds a classy and welcome sheen and texture to several of the tracks here. Ian Paice's drum work is inventive, unorthodox and excellent as always.

"This Time Around/Owed to 'G'" has attracted much comment, and it represents something different in its dreaminess, with some detecting the influence of Stevie Wonder.

Another intriguing number is "Keep On Moving", with its menacing beginning and its harmonies. A strong and atmospheric way to close out the record, and strangely apt when one bears in mind that the band would fold within a matter of months.

Approach this album with an open mind, and it is a surprisingly enjoyable record, especially considering the backdrop to its recording. Some inventiveness and imagination is evident if one looks and listens hard enough.  It might not be the "true" Purple, but it is by no means a bad album.