Deep Purple released another six studio albums between 1971 (Fireball) and 1975 (Come Taste the Band). Gillan and Glover left in 1973 and Blackmore in 1975, and the band disintegrated in 1976. The highlights of Lord's Purple work in the period include the 1972 album Machine Head (featuring his rhythmic underpinnings on "Smoke on the Water" and "Space Truckin'", plus the organ solos on "Highway Star", "Pictures of Home" and "Lazy"), the sonic bombast of the Made in Japan live album (1972), an extended, effect-laden solo on "Rat Bat Blue" from the Who Do We Think We Are album (1973), and his overall playing on the Burn album from 1974.
Roger Glover would later describe Lord as a true "Zen-archer soloist", someone whose best keyboard improvisation often came at the first attempt. Lord's strict reliance on the Hammond C3 organ sound, as opposed to the synthesizer experimentation of his contemporaries, places him firmly in the jazz-blues category as a band musician and far from the progressive-rock sound of Keith Emerson and Rick Wakeman. Lord rarely ventured into the synthesizer territory on Purple albums, often limiting his experimentation to the use of the ring modulator with the Hammond, to give live performances on tracks like Space Truckin' a distinctive 'spacy' sound. Instances of his Deep Purple synthesizer use (he became an endorser of the ARP Oyssey) include "'A' 200", the final track from Burn, and "Love Child" on the Come Taste the Band album.
In early 1973 Lord stated: "We're as valid as anything by Beethoven."
As a composer
Lord continued to focus on his classical aspirations alongside his Deep Purple career. The BBC, buoyed by the success of the Concerto, commissioned him to write another piece and the resulting "Gemini Suite" was performed by Deep Purple and the Light Music Society under Malcolm Arnold at the Royal Festival Hall in September 1970, and then in Munich with the Kammerorchester conducted by Eberhard Schoener in January 1972.
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