Deep Purple / NY, USA 05.30.1973 Remastered

In 1973, the second iteration of Deep Purple was fueled by the “MADE IN JAPAN” phenomenon that swept across the United States, and the fervent desire of fans to recreate it drove the band forward. This legendary recording, which allows you to experience the highlight performance of that historic US tour, has been polished up. Permanently preserved in this release is the “New York performance on May 30, 1973.” It is that legendary audience recording. While “New York in 1973” was also captured in the official video “LIVE IN CONCERT 72/73,” this is a completely different performance. To understand the context, let’s first take a look at the overview of their activities at that time. 《January 13th: “Purple Portrait” released》・January 16th – March 20th: Europe #1 (36 shows) ← *LYON 1973 and others《March 30th: “MADE IN JAPAN” North American release》・April 12th – June 19th: North America (40 shows) ← ★HERE★・June 23rd – 29th: Japan (6 shows) ← * “THE END” and others《September: Phase III begins / November: “Purple Flame” completed》・December 9th – 17th: Europe #2 (5 shows) This is Deep Purple in 1973. “MADE IN JAPAN” was released in Europe and Japan in December 1972, but in America it was released in the spring of 1973. Building on that momentum, the “North America” ​​tour began. The New York performances featured in this work are, of course, part of that tour. Let’s take a closer look at the dates, also as we organize our store’s collection. Details of “North America” ​​- April 12-14 (3 shows) * April 15 ‘LONG BEACH ARENA 1973’ – April 17 – May 9 (14 shows) * May 23 ‘PROVIDENCE 1973’ * May 24 ‘DEFINITIVE BOSTON 1973′ – May 25: Maryland show – May 26: Felt Forum show (NY first day) – May 27: Felt Forum show (NY second day) * May 29: Hofstra University (Official LIVE IN CONCERT 72/73) * May 30: Felt Forum show (NY final day) ←★This release★ – May 31 – June 19 (15 shows) Latest transfer + Graf Zeppelin’s top-notch updated recording…and so on. The highlight is the four shows in New York. The official “LIVE IN CONCERT 72/73” (previously said to be on the 27th, but now confirmed to be the 29th) was filmed at Hofstra University, but the other three concerts were held at the Feld Forum. This release captures the final day of the tour, the day after the official video was filmed. This final New York performance is known for the excellent recording it made, and has been a beloved classic in our store as “NEW YORK 1973.” This release uses the same recording, but it’s an upgraded version that surpasses the original. First of all, the source is brand new, a new digital transfer from analog cassette by the world-renowned collector Lucifer Burns. This release is a polished version of that new master by GRAF ZEPPELIN. The stage, which previously felt like it was to the side, now feels like it’s directly in front of you. GRAF ZEPPELIN uses every technique imaginable to restore the sound of the live performance, but perhaps the most significant effect this time was phase correction. Both the original release and this new master were characterized by a significant bias towards the right channel. However, this wasn’t a recording issue, but rather a problem caused by the tape. Audience recordings in the 70s were typically recorded using a “monaural microphone + stereo tape.” This meant the same sound was recorded in both the left and right channels, but differences arose between them due to dubbing and aging. Phase shifts, in particular, greatly distorted the stereo image. In this recording, the performance was pushed to the far right, resulting in an unnatural localization, as if looking at the stage from the side. “GRAF ZEPPELIN” perfectly corrects this phase shift. The performance is precisely centered in the channel, and the original stereo image is reconstructed, as if you were standing directly in front of the stage. The stability created by the obsessively precise mastering is another major improvement. The distortion, which was particularly noticeable in “Space Truckin’,” has been extensively repaired. Ritchie’s guitar phrases have a stable outline, and Ian Paice’s drumming provides a solid rhythmic backbone that remains unwavering until the very end. In addition, the entire album has undergone a process of original sound purist, similar to the restoration of cultural artifacts, including a reconstruction of the balance based on frequency band analysis and normalization of pitch through pitch correction. As a result, the entire album has been converted to mono, but this was a necessary consequence of the decision to completely eliminate phase shifts (as mentioned earlier, it was originally a mono recording, so it could be said that the original sound has been restored). Although it remains within the realm of vintage recordings, the album brings out the best qualities of the original recording—a sound image with the guitar and vocals prominently featured, and a raw, direct feel that pushes the input to the very edge of peak overload. A masterpiece that feels like reliving the “MADE IN JAPAN” experience. This top-of-the-line, updated sound depicts the final brilliance of their second phase that captivated the entire United States. The period from May to June 1973 is often thought to be the final stage of the band’s second phase, and therefore the energy level is low, but the performance on this album defies that preconception. As mentioned earlier, this “North American” leg coincided with the massive success of “MADE IN JAPAN,” which reached number 6 on the Billboard charts. Their popularity in America was at its peak. The audience, packed into a medium-sized hall, didn’t seem to care whether there were new songs or not; rather, they were engrossed in the stage, reliving the highly acclaimed live album. In fact, the setlist (though the order of the songs differed, the selection) is exactly the same as “MADE IN JAPAN,” and the world of that masterpiece unfolds directly. And the band responds to that enthusiasm. Supported by the excitement of the audience, a fulfilling performance unfolds throughout. The final days of the second phase, during their Japanese tour, lacked encores—and despite the high level of performance—felt somewhat perfunctory. This album, which takes place just before that, may be the last great performance in which the band fully demonstrated that they were still “in their second phase.” The final night in New York where the essence of DEEP PURPLE’s second phase truly ignited. This 1973 recording, one of North America’s finest, has been restored to its original form through “the latest transfer + GRAF ZEPPELIN.” The correct sound field has been revived through phase correction, the backbone of long songs has been stabilized by correcting sound distortion, and the enthusiasm of the audience, who were caught up in the “MADE IN JAPAN” frenzy, is captured. This is a legendary audience recording of the “New York performance on May 30, 1973.” This is the highest-quality updated version, featuring Lucifer Burns’ latest transfer and polished by GRAF ZEPPELIN, from the final night at the Felt Forum, the day after the official “LIVE IN CONCERT 72/73.” The sound field has been dramatically improved through phase correction, and sound distortion has also been corrected, making this a close-up experience of the end of the second phase. ★The 1973 NY performance is finally back! There are various theories about the date, but there is a comment in the MC after the performance of Highway that it was the “Last Day.” This is the latest digital transfer from analog cassette by Lucifer Burns, renowned for his rare recordings! Frequency response, pitch, and sound distortion have all been thoroughly corrected! The entire recording has been meticulously repaired and converted to mono, resolving the significant phase shift to the right that was present in the previous release! The sound is among the closest to other 1973 Deep Purple recordings, making this a valuable pressing! Felt Forum, New York, USA 30 May 1973 PERFECT SOUND UPGRADE!!! (67:22) 1. Introduction 2. Highway Star 3. Smoke On The Water 4. Strange Kind Of Woman ★Cut at 6:18 5. Child In Time 6. Keyboard Solo ★Cut in 7. Lazy 8. Drum Solo 9. The Mule 10. Space Truckin’ ★Cut in / Fade out at 11:22 Ian Gillan – Vocals Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums