Deep Purple/MA,USA 1973 Upgrade

A brush-up of the masterpiece that was acclaimed as an “extraordinary great masterpiece” during the 1973 II DEEP PURPLE, which was about to collapse. It is now available as a 2CD that updates the highest peak. What is recorded on the masterpiece is “May 24, 1973 Boston Performance”. Yes, this is an upgrade version of the masterpiece “BOSTON 1973” that conveyed the truth of 1973 with the best audience sound. I’m curious about the upgrade, but first of all, it’s the show position. Let’s look back at the schedule at that time. [“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》 [Super famous recording representing 1973] This is DEEP PURPLE from the first half of 1973. As you know, the golden five will collapse after the second performance in Japan, but the Boston performance of this work is one act of the US tour that took place before that. This was the 23rd concert out of a total of 42 performances. It is said that interpersonal relationships at that time were the worst, but in reality, she was at the peak of her popularity. “MADE IN JAPAN” released in the US in April 1973 reached number 6 in the US, and the single “Smoke on the Water” released in May reached number 4 in the US, becoming a huge hit, and a tour was held accordingly. It was also a great success. It is a live album that vacuum-packs the American performance that was held in the middle of an unprecedented success. “BOSTON 1973”, which recorded such a show, is a masterpiece of recordings that has been acclaimed as “a masterpiece of 1973”. This is a recording by a master who recorded masterpieces such as PINK FLOYD and QUEEN one after another in Boston in the 1970s, and was digitized from the recording person’s original master. The recording itself was known before “BOSTON 1973”, but it was the longest version recorded, about 5 minutes longer in total, such as waiting for encore and between songs. Its overwhelming clearness and powerful core were so vivid that they could blow away the soundboards around. Moreover, not only the sound but also the performance was amazing. Generally, the image of this period is not good due to poor human relations, but this Boston performance is unbelievably wonderful. Both Richie and John are already excited from the opening “Highway Star”. Furthermore, in “Smoke On The Water”, Richie plays a solo that incorporates Middle Eastern phrases, and “Strange Kind Of Woman”, which has an intro jam for nearly 2 minutes, also shows off a crisp solo. Performances full of such a spontaneous atmosphere popped out one after another, and in 1973 there was no interruption until the precious “Lucille”. And the one that stands out is Gilan. In particular, on “Child In Time”, she has a tremendous vocalization that I would say is a career best, and her use of a strong scream and a delicate and emotional voice is enough to give you goosebumps. Of course, the interaction between the guitar and organ and the solo are like a storm, and “Child In Time” with such high tension was played in 1973 as well…It is the highest peak of 1973, which shows this fact with the actual sound. It was an audience recording. [Natural sound that updates the highest peak] And this work further updates the highest peak of that legendary recording. I went back to the original master and refined it again with careful mastering, but the biggest point is the natural texture. “BOSTON 1973” also had a wonderful sound, but in fact, this recording had a strong treble attack to begin with. When it first appeared in 2009, it was the era of the Loudness War, so it was considered “good”, but by today’s natural-oriented standards, it was a bit painful to hear. Even putting aside the truth of the recording, I had to say that the sound did not suit the “truth of the scene.” Under such circumstances, the mastering policy for this work was decided to be “reproduction of on-site sounds.” Of course, since we are not re-recording, it is not a perfect match, but we have achieved a sound that is far more natural and as close as possible to the original sound of DEEP PURPLE in the second period. The whole song and all the notes have been reborn, but the vocals are especially easy to understand. Of course, Ian Gillan’s metal shout remains sharp, but its pronunciation has become much easier to listen to. Especially “Sa Si Su Se So”. If you are familiar with the recording situation, you may know that distortion is likely to occur at the peak of the S line, not only on the sound board / audience, but in this work you can listen to that peak naturally without getting caught. Another thing to mention is drums. In “BOSTON 1973”, the hardware such as the cymbals were particularly crisp, and at the peak of the hitting sound, it was a half-explosive sound. Here, too, the sound remains sharp and natural. Truly the pinnacle of 1973. Although there were some unfavorable impressions based on the testimonies of the people involved, there was no way they wouldn’t get excited in front of the audience who were at the peak of their popularity especially in the United States. You can experience such a passionate live performance not only with super clear and direct sound, but also with a sound that has updated the highest peak with a natural feel. Since the amazing new excavation album “LONG BEACH ARENA 1973” will be released at the same time, it is difficult to easily declare it as “No. 1 of 1973”, but it is definitely the best version of the historical name recording. Simultaneous release of new and old masterpieces that overturns the image of 1973. Live at Boston Music Hall, Boston, MA, USA 24th May 1973 TRULY PERFECT SOUND(UPGRADE) Disc 1(40:30) 1. Intro. 2. Highway Star 3. Smoke On The Water 4. Strange Kind Of Woman 5. Child In Time Disc 2(56:03) 1. Keyboard Solo 2. Lazy 3. Drum Solo 4. The Mule 5. Space Truckin’ 6. Lucille Ian Gillan – Vocal Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice -Drums