Deep Purple/CA, USA 4.15.1973

Shocking new discovery of transcendental recording by the Golden Five. Emergency release has been decided! What was recorded in the impact master was “April 15, 1973 Long Beach Performance”. It is a superb audience recording that conveys the entire story. Speaking of 1973, it is an era where periods II and III intersect, but this work is the golden period II, which also includes Ian Gillan and Roger Glover. These five people will be disbanded after the performance in Japan in June, but this work is about two months before that. First, let’s look back at the schedule and check the show’s position. [“Purple Portrait” released on January 13th]・January 16th-February 10th: Europe #1 (16 performances)・February 16th-28th: ​​UK (10 performances)・March 5th- 20th: Europe #2 (10 performances) April 12th – June 19th: North America (42 performances) ←★Here★ June 23rd – 29th: Japan (6 performances)《Phase II DEEP PURPLE Collapse》This is the progress from the release of “Purple Portrait” to the collapse of Phase II. They also toured Europe and Japan, but the main one was North America, and the Long Beach performance of this work was the 4th concert that was the start. Recordings of this show have been known for a long time, and veteran collectors will feel nostalgic. This work is not that standard sound source… It was digitized from a separate recording analog master that was recently discovered. What’s more, the work was done by Krw_co, a prestigious excavation company. Although the generation of the analog master itself is unclear, you can experience the full show of 1973 with a completely unknown sound. Shocking from the beginning. Previously, the recording faded in from the intro of “Highway Star”, but this new master starts recording from the band introduction before the performance begins. The band’s own greetings and trial playing by Jon Lord and Ritchie Blackmore are also well recorded. The beat oozes out from within, and you can enjoy the mood that descends into “Highway Star” for more than two minutes. Of course, such an opening part is just evidence of a separate recording. The essential sound is also shocking throughout the entire story. Conventional recordings have a direct feel, but are warm, round, and fluffy. Furthermore, the peaks of the bass drum and organ were distorted into a boss-boss sound. On the other hand, this new recording has the same direct feeling but is wonderfully clear and incomparably clear and vivid. The Strat sound is especially amazing. When you hit a riff, the rise is sharp, and the slight bending width is clear. Long tones are also glossy and smooth. Moreover, the details are extremely clear. Is it easy to understand this with John’s organ? You can clearly hear the roaring vibe in each note, and you can clearly hear the organ itself vibrating. If each note is that vivid, the three-dimensionality of the band’s ensemble is also clear. No matter how much the guitar and organ try to match phrases, they overlap and don’t mix, and Guillain’s shout that pierces through the gap has a great vibrato width and a sense of cutting. Of course, the rhythm section that supports such quality is also very three-dimensional. If we were to compare each instrument to a thread, the ensemble in this work would feel like a complicated twill. It is not “carpet” or “cloth” but “twilling”. It doesn’t look like fabric, where it’s flat and difficult to discern the presence of the threads, but each thread firmly asserts its presence, with deep silence in between, creating a three-dimensional structure as a whole… It is a transcendental sound at the sound board level. Moreover, this work has brushed up such a shocking master with even more meticulous mastering. Of course, we do not try to pollute the fresh original sound with reckless equalization. However, the original sound that appeared on the internet was a little rough. There were crackling noises here and there, and the left and right stereo balance was out of whack at the beginning. This work carefully treats each of those shortcomings one by one. While preserving the flavor of the original sound to the maximum extent possible, we have made it as easy to listen to as a musical work and as reproducible as possible on-site sound. A show drawn with such a sound sounds completely different from anything before. Speaking of 1973, there is an image that it was not good because it was a countdown to collapse, but the improvisation that flows from the ultra-clear sound is sharp, colorful and voluptuous. It is true that there is a sense of promise in the melody, but the momentum of each picking and passage stirs up each other’s tension, increasing the excitement of the song. If you don’t compare it to the miracle of 1970 when they themselves created climax from chaos, you can enjoy plenty of thrilling hard rock that is more than British rock. Furthermore, “Mary Long” is delicious. Even though it was 1973, it was not played at all performances, and it was a valuable repertoire that was often replaced with “Child In Time”. This is depicted by the golden five with live music, and you can experience it with ultra-clear sound… This work is overwhelming throughout, but this one point alone is a new excavation that is incredibly valuable and wonderful. I cited conventional recording to avoid misunderstandings, but it might have been better to stop. It’s ridiculous to compare… or rather, it’s disrespectful to this work. An exceptionally clear recording. An amazing new discovery that could even change the image of “1973.” Live at Long Beach Arena, Long Beach, CA, USA 15th April 1973 TRULY PERFECT SOUND Disc 1 (54:39) 1. Intro 2. Highway Star 3. Smoke On The Water 4. Strange Kind Of Woman 5. Mary Long (with God Save The Queen Intro) 6. Keyboard Solo 7. Lazy 8. Drum Solo 9. The Mule Disc 2 (30:23) 1. Space Truckin’ 2. Announcement Ian Gillan – Vocal Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums