Deep Purple Deep Purple/CT,USA 1974 Complete

A new super shocking record has been discovered! The first appearance of a superb recording that has never been known to exist! The shock of the whole world has been decided to be released for permanent preservation! This work is engraved with the “August 26, 1974 Hartford performance”. It is a superb audience recording. Speaking of 1974, it was the peak of the III period, which was crowded with the legendary “California Jam” and the official traditional record “LIVE IN LONDON”. On the other hand, it is said to be a turbulent period in which Ritchie Blackmore’s motivation changed greatly with a slight difference in time. What was the position of this work in such a situation? First of all, let’s unravel the outline of the activities at that time. 1973 September: Phase III begins November: “Purple Flame” complete December 9-17: Europe #1 (5 shows) 1974 January 20-26: Europe #2 (5 shows) February 15: “Purple Flame” released March 3-April 9: North America #1 (28 shows) ←※CALIFORNIA JAM April 18-June 27: UK (25 shows) ←※LIVE IN LONDON August 24-30: North America #2 (4 shows) ★Here★ September: “Storm Messenger” complete September 18-28: Europe #3 (9 shows) November 8: “Storm Messenger” released November 13-December 17: North America #3 (19 shows) A new recording of the other-dimensional sound that appeared at the turning point of 50 years This is Phase III DEEP The journey from the birth of PURPLE to the end of 1974. “Cali Jam” was a stage in early spring in the same United States, but the Hartford performance of this work was about four and a half months later. It was the second performance of “North America # 2”, which overlaps with the production period of “STORMBRINGER”. The masterpiece “RED SKY KANSAS” was also excavated from this August tour, but this work is also the previous stage. This work, which vacuum-packed such a scene, is a superb sound that makes you doubt your ears. It is just ferociously on, clear and super clear. The direct feeling of the extremely thick core approaching without a sense of distance is reminiscent of “RED SKY KANSAS”, but the clarity is completely incomparable. The outline of each sound is sharp and sharp, and even the fine details are clearly vivid. The sound of the four performances and the voices of the two are beautifully separated, and even if they overlap, they never mix. What is particularly surprising is the guitar and bass. Both have a resolution that makes the vibration of the strings more vivid than the sound of one note at a time, and are much more vivid than any other soundboard. And the twin vocals of Coverdale & Glenn. This is also not so much that you can hear every word of the lyrics, but the breath that flows into the wire mesh of the microphone is clear. Effects are applied here and there, and you can even tell how much the knobs are being turned. This extraordinary vividness goes beyond the image of “audience recording at a concert venue”. Well, for example, our customers may have had the experience of recording a TV program with a boombox. The clarity and directness of this work is just like that. Collectors around the world are trembling at this very moment because of such a shocking recording, and this work is also the highest peak update. In fact, the original sound that appeared on the Internet had a tendency to drop in the left channel from the beginning to the third song “Lay Down, Stay Down”, but in this work, the balance is carefully adjusted. The sound output at the scene is reproduced as faithfully as possible. A miraculous, passionate performance that reached its climax even in the third period. Such an incident-class sound depicts a rare, super-hot performance even in the glorious third period. The tension following the great success of “Cali Jam” knows no bounds, and Richie in particular is on edge. The riffs and beats are of tremendous momentum, and above all, the improvisation is simply mellow. The ever-changing phrases flow endlessly, and the delays and vibratos are full of emotion. What’s more, it’s amazing that it doesn’t fade throughout the entire album and all the songs. The most delicious song is “You Fool No One”. This is a super-famous performance, and the free-form guitar solo and drum solo are both pleasantly fast, and you can really see how “North America #2” was. In fact, this song was not included in the most recent “RED SKY KANSAS” (it was cut?), but there is a world of difference between having it and not having it. Even during the third period, which was commercially at its peak, the performance was not always at its peak. In the early days, the sense of breathing was not established, and after “STORMBRINGER”, Richie, who had a lot of uneven hair, lost his motivation. In the midst of all this, “North America #2” was definitely the climax. The experience of “Cali Jam” directly led to a response and confidence, and he has not yet lost his motivation. This work is a live album that allows you to experience such a miraculous season with a transcendent sound that far exceeds “RED SKY KANSAS”. A treasure board of a different dimension that was suddenly discovered at the turning point of 50 years. A super-excellent audience recording of “Hartford performance on August 26, 1974”. It is just ferociously on, clear and super clear. The extremely thick core approaches without a sense of distance, the contours of each sound are sharply cut, and even the fine details are vividly vivid. Rather than an audience recording at a concert venue, it is a direct feeling of a super-class, as if a TV program was recorded with a boombox. The performance is also in excellent condition, which is rare in the III period. A miraculous new masterpiece that suddenly appeared at the turning point of 50 years. Dillon Stadium, Hartford, CT, USA 26th August 1974 TRULY PERFECT SOUND (79:41) 01. Intro 02. Burn 03. Might Just Take Your Life 04. Lay Down, Stay Down 05. Mistreated 06. Smoke On The Water 07. You Fool No One 08. Guitar Solo / Band Jam 09. Drums Solo / The Mule 10. Space Truckin’ David Coverdale – Vocals Ritchie Blackmore – Guitar Glenn Hughes – Bass, Vocals Jon Lord – Keyboards Ian Paice – Drums