Description
The 1973 Japan tour was the last day for the second stage of DEEP PURPLE. Among them, a miraculous new discovery of the legendary recording master who conveyed the “June 25, 1973: Nippon Budokan” performance known as the “night of the riot”! This legendary recording is known for the traditional masterpiece “SQUARE IT UP”. Although there are many wonderful sound sources for this live, it is a famous recording that has been criticized for its sound / recording time. This work is the original original cassette. You can experience the turbulent and chaotic Budokan live performance not only as the longest ever, but also with clear and natural sound! [“6/25” became a symbol of the fateful year of 1973] It has been about a year since “LIVE IN JAPAN”, which captured the long-awaited first visit to Japan. This will be the band’s second performance in Japan, and for us Japanese fans, it will be remembered with two bittersweet memories. One is “The Riot at Nippon Budokan,” and the other is “The End, Goodbye,” which declares the end of the Osaka performance. The history of PURPLE is etched as the stage of an incident that will remain in rock history. As it is a valuable visit to Japan in the 1970s, our store has an archive of many masterpieces. Furthermore, this week, the new masterpiece “DEFINITIVE “THE END”” will be released at the same time, so let’s organize the collection from the 1973 schedule. ・June 23rd “DEFINITIVE HIROSHIMA 1973” ・June 24th “DEFINITIVE NAGOYA 1973” ・June 25th: Nippon Budokan (riot day) ←★This work★ (Already released “DEFINITIVE BUDOKAN 1973” “SQUARE IT UP”) ) x June 26th: Nippon Budokan (cancelled) June 27th “FINAL BLACK (Osaka)” June 29th “DEFINITIVE “THE END”” (Final performance: Osaka) *Note: The above is only representative works . That’s all 5 performances. If you are a sound source enthusiast, there are many famous recordings that you cannot avoid. Even when you look at the sound source, you get the feeling that the performance and characteristics are all the same, and even if you put aside historical considerations and look purely at the recorded material, the specialness of the Budokan performance still stands out. Under such circumstances, this work is the third performance. This was a major incident in which the audience, dissatisfied with the band’s failure to respond to their encore, rioted, making it impossible to perform the next day. If you’ve been paying attention to this article, you’ve probably seen the on-site photo of the arena with overturned chairs stacked on top of one another. It was a symbolic night. At this Nippon Budokan, many tapers were spinning their equipment to recreate the miraculous “LIVE IN JAPAN”, and even in the CD era, many masterpieces such as “DESTROYED THE ARENA” were produced. At our store, we have introduced definitive document titles such as “BUDOKAN 1973” and “DEFINITIVE BUDOKAN 1973.” While each has its own individuality, such as a well-balanced collection of performances and a (albeit fragmentary) capture of the riot after the performance, many enthusiasts recommend that you at least listen to this one. “SQUARE IT UP”. This recording is also known for starting with Goro Itoi’s MC introducing the band and announcing the start of the performance, capturing the performance in a well-balanced manner and creating a powerful sound that is easy to listen to. Although the riot scene after the performance was not recorded, it was a first-class documentary title that clearly captured the tension as a disturbing atmosphere gradually enveloped the arena. [The original sound of the legendary recording finally revealed] This time, we miraculously obtained the original master tape of “SQUARE IT UP”! These two CDs have been carefully treated while retaining the original taste of the original master, and are definitive sound sources that should be passed down to future generations. Previously, “SQUARE IT UP” had a fade-in from the scene where Mr. Itoi introduced “Deep Purple!”, but in this work, Taper operates the equipment and the sound of the tape spinning is also heard. Dare to record. Mr. Itoi’s MC is also longer (1-2 seconds, but 1). Even more than that is the sound that permeates the entire story. This is a superb vintage that cannot be overstated. Even when placed next to the previously introduced “DEFINITIVE BUDOKAN 1973”, it competes for the top spot on the same day, and its clearness is dazzling, as if two thin films have been removed from “SQUARE IT UP”. It reproduces the band’s performance down to the finest nuances. Before the show begins, John plays “Silent Night” on his Hammond, which flows with a subtle warmth, and the dynamism of “Highway Star” which explodes with violent distortion sound! The dynamism that can be called the real thrill of PURPLE II is vividly depicted. It has been said that “the excitement of coming to Japan in 1973 was low,” but the more you listen to the driving play of Gillan and Richie, who bark madly, the more you can’t believe it. The following “Smoke On The Water” has a bluesy improvisational solo that Richie plays at the beginning, giving a feeling of the beginnings of the third period, and the groovy performance continues in “Strange Kind Of Woman”, with a Bach rondo style. The intro where the snow falls all at once from Gavotte is also great. “Child In Time” is a reproduction of “LIVE IN JAPAN” where John’s mellow organ and Ritchie’s rugged guitar sound clash, and Gillan’s roar cuts through the space. Be sure to check out the quiet parts where the musical tones and singing voices resonate clearly with your own ears! In addition, in the original master, there was a gap of about 20 seconds that appeared to be a tape change in the second half of the drum solo (this was the same in “SQUARE IT UP”), but in this work, the same part of “DEFINITIVE BUDOKAN 1973” was missing. It is seamlessly supplemented by, and the full show is reproduced without exception. [Did the closing MC pull the trigger? [The outro with a hint of a riot creeping in is also the longest ever] The show ends dramatically with “Space Truckin'”, which lasts about 27 minutes, but that’s the highlight of this work! Mr. Itoi speaks again to the audience who are looking for an encore. Since it’s so historical, let’s write it down a bit. “Thank you very much. Deep Purple concert. In the middle of the performance, someone threw a firework at the stage, but I don’t think that person was a rock fan. We apologize for any inconvenience this may have caused. Thank you very much. Thank you very much.” Even though his tone was calm, there was a hint of anger and excitement at the end of the show. In this work, you can clearly hear each historical word. According to one theory, not only was there no encore, but the MC also upset the audience’s emotions. Some analysis suggests that it triggered a riot (it is also said that the firecrackers were thrown while “Smoke On The Water” was being played). Immediately after this, cheers and roars erupted from the audience. The clapping of hands trying to bring the band back……the tension that is hard to put into words increases. The child’s scene, “SQUARE IT UP”, which had already been released, faded out about 50 seconds after the MC, but this time, the former master’s scene lasts for a whopping 90 seconds. As the audience realized that the band would not return, they gradually became more murderous, and the place became chaotic. The female-like voice that could be heard from far away was more like a scream than a cheer. Recording ends here. “After this, things are going to get really bad.” Perhaps the taper also thought so and stopped recording. Even in the performance in Japan in 1973 at the end of the II period, “6.25” performed a performance comparable to “LIVE IN JAPAN”, and many masterpiece audience masters were left behind on the audience side. The riots that occurred immediately after this left a dark shadow that cannot be wiped away. This work has a tremendous tense mood, but the great performances are recorded with such wonderful sound that it would be a waste to talk about that incident alone. An original master who captured both the tense mood and the masterpieces that should be preserved for posterity on-site. This live album is truly a cultural heritage, as well as evidence of the incident. Live at Budokan, Tokyo, Japan 25th June 1973 PERFECT SOUND(from Original Masters)*UPGRADE & LONGER!!! Disc 1 (47:34) 1. MC (Goro Itoi) 2. Intro. 3. Highway Star 4. Smoke On The Water 5. Strange Kind Of Woman 6. Child In Time Disc 2 (46:27) 1. MC 2. Keyboard Solo 3. Lazy 4. Drum Solo ★4:39 – 4:59 Supplemented from another sound source on the same day. 5. The Mule 6. Space Truckin’ 7. MC (Goro Itoi) Ian Gillan – Vocal Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums
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