Deep Purple/England,UK 1972 Upgrade

The traditional recordings that represented the peak of 1972 have been brushed up. The highest peak updated sound 2CD by “GRAF ZEPPELIN” is now available. This work is engraved with “February 20, 1972: Wolverhampton performance”. It is a stereo audience recording. 1972 was a miraculous year with “MACHINE HEAD” and “LIVE IN JAPAN”, but the activity history was also full of ups and downs. It is a good opportunity to look at the whole picture and approach the position of this work.・January 5th: Hamburg performance・January 13th-31st: North America #1 (16 performances)・February 5th-March 12th: Europe #1 (17 performances)←★Here★・March 17th-31st: North America #2 (11 performances)《March 31st Richie collapses from hepatitis》・April 6th “QUEBEC 1972 feat. RANDY CALIFORNIA”×April 8th-May 16th: North America/Japan (cancelled/postponed)×・May 25th-June 6th: North America #3 (9 performances)・June 27th-July 1st: Europe #2 (3 performances)・July 6th-19th: North America #4 (11 performances)《July “Purple Portrait” production begins》・August 15th-17th: First visit to Japan (3 performances)←※LIVE IN JAPAN August 22-September 3: North America #5 (10 performances) September 13-October 16: Europe #3 (19 performances) November 6-December 16: North America #6 (25 performances) This is DEEP PURPLE in 1972. At a glance, you can see how busy he was, but in March, Richie collapsed from hepatitis, which may have been the cause of his overexertion. Even the phantom Randy California period appeared. The Wolverhampton performance of this work was “Europe #1” before reaching its limit. Around this time, there was also a recording of the BBC broadcast that became the official “IN CONCERT” and the Danish broadcast that became “MACHINE HEAD LIVE”. Let’s focus on the schedule and check the positional relationship. Details of “Europe #1” ・February 5-13 (7 performances) *February 19 “DAGENHAM ROUNDHOUSE 1972” *February 20: Wolverhampton performance ←★This work★ ・February 22-29 (3 performances) *March 1: Copenhagen performance ←※Official video ・March 3 + 4 (2 performances) *March 9: London performance ←※Official IN CONCERT ・March 12: Croydon performance The new master of the net that was disappointing while attracting attention Well, the audience recording recorded at such a show is a legendary recording that has represented 1972 since ancient times. As you can see from “IN CONCERT” and “MACHINE HEAD LIVE”, the band’s potential at that time was tremendous, and even historic masterpieces were born one after another. The set that gave birth to the prototype of the later “MADE IN JAPAN” and even jumped out to “Fireball” is truly the ultimate. You can experience the climax of a live performance with 100% of the audience sound in both song selection and performance… there’s no way this won’t become a legend. Now in 2024, such a legendary recording is attracting attention again. In fact, a new master has appeared on the Internet. It is being talked about as the “remastered & complete version of Mule”. However! This new master is a total rip-off. Before the remaster, the gene itself was bad, and the sound was very wavy and twisted. As for “Mule”, which is supposed to be a selling point, it was obvious that the cuts in the song were patched together from other parts. Well, it seems that it is still a legendary recording, so it is well received by those who are experiencing it for the first time, but collectors who have experienced the conventional version are saying “What is this?”. The highest peak update that polishes up the true best master And, this work is the one that makes you fed up with such a sad situation and say “This is the real best!” The best so far was our previous release “ELECTRIC GHOST”, but this work is not a remastered reissue of that. This is the highest peak update board that “GRAF ZEPPELIN” refinished after going back to the original master of “ELECTRIC GHOST”. The sound is exactly the best ever. There is no point in comparing it with the bad master on the net, so I will ignore it, but it is much upgraded compared to the conventional version. Of course, the key is the precision of “GRAF ZEPPELIN” mastering. It is as meticulous as usual, with pitch correction that does not allow even 1/1000th of a second of deviation, balance adjustment after band analysis, wow and flutter processing, etc., but this time the effect of phase correction is particularly large. After all, this legendary recording is a rare stereo recording for 1972. Until now, when listening with headphones, I was hit with the feeling that my head was being pulled to the right due to phase shift, but this work is stable in the center. Another thing to mention is the very natural hiss. If noise is forcibly processed, the essential performance sound will be distorted, but this work is processed at the very limit where it does not have any effect. Not only is it significantly less, but the remaining hiss is also extremely natural with the analog feel of the master tape itself. New songs such as “Highway Star”, “Lazy”, and “Space Truckin'” are included one after another, and on top of that, the explosive “Fireball” tramples everything. In particular, “Fireball” was sealed at the end of this period and revived in 1994. It is truly a miracle that you can experience “Fireball” played by a serious Richie on the spot. This work is such an absolute live album, and it is the highest peak update of the legendary recording that was said to be “after experiencing the official IN CONCERT and MACHINE HEAD LIVE, this is the next one”. It is a masterpiece that is nothing but a cultural heritage. Stereo audience recording of “February 20, 1972: Wolverhampton performance”. The legendary recording that represented 1972 (different from the bad master that is making a fuss on the net) is the highest peak update of the true best master “GRAF ZEPPELIN”. This is a cultural heritage album where you can experience the historic climax of Richie playing “Fireball” 100% in real life. It was released on a torrent site in recent years, but this is not the same sound source but a latest remaster based on a different stereo Aud sound source! In recent years, the public version of the sound source had a lot of undulations and muddiness in the intro before the start of the live performance, and the distortion was also noticeable, but this version has no such problems, and although there is a certain amount of hiss, you can enjoy a stable sound from start to finish. The phase and band corrections make it easier to see than the previous version. In particular, the previous version had a phase shift biased to the left and the wow-flash that was noticeable between songs has been eliminated, which makes the impression quite different. There is also a lot of hiss, but with appropriate band adjustment, it is a less peculiar hiss noise than the previous version. Mule The cut in the song after 6 minutes is not this version. By the way, in recent years, the public version seems to have been faked by copying and pasting a close part of the performance at the relevant part. Civic Hall, Wolverhampton, England 20th February 1972 PERFECT SOUND UPGRADE Disc 1 (50:50) 1. Introduction 2. Highway Star 3. Strange Kind Of Woman 4. Child In Time 5. Mule incl. Drum Solo *No fade processing in the 6 minute range Disc 2 (40:37) 1. Lazy 2. Space Truckin’ 3. Fireball * 4. Lucille Ian Gillan – Vocals Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums