Deep Purple/UK 1972

What can I say… I never expected that such a recording would come out in 2016. Now, DEEP PURPLE enthusiasts all over the world are trembling with surprise, and now we have a shockingly excavated sound source. One of the shocking songs is the audience master of 5 songs from “Dagenham performance on February 19, 1972” and 2 songs from “Royal Albert Hall performance on October 4, 1971.” Both are not complete recordings, but the total is just under 80 minutes. All of them are recordings that were not even known to exist until now. Although it is surprising that a band that has been discovered and researched as much as DEEP PURPLE, it is still being discovered, but that alone is not enough to shock enthusiasts around the world. What is truly amazing is the live performance and sound quality contained in that master. Although it certainly has a vintage feel and atmosphere from the early 70’s, it is clear enough that there is no need for the phrase “for that time”. The musical sounds hit my ears straight away, and the intense performance echoed through the silent venue, as if I was holding my breath. Even though the faint reverberations enrich the sound of the guitar and Hammond, they do not blur the outline, and the sharp musical sounds fly through the transparent air. The legendary great album “MACHINE HEAD” was produced by bringing a mobile unit into the hallway of a hotel, and it has a natural, rich, yet clear sound that even reminds us of such a story. I don’t know how it was discovered, but I can clearly see the surprise of people who heard the playback sound for the first time. As such a great excavation master, we wanted to make sure it was perfect when it came to press. In fact, the version that is currently gaining traction on the internet has a severe pitch error. The 1971 Royal Albert Hall is about 1/4 of a semitone, but the 1972 Roundhouse is off by up to a semitone. Moreover, the misalignment changed randomly and could not be corrected by slight adjustments. Of course, such deviations were corrected in detail, and the periodic noise that occurred in the middle of “Child In Time” was also improved. Furthermore, by tightening up the sound, which was a little fluffy, the clarity of the original sound was made even more prominent. Of course, in each of these mastering tasks, the policy of “just making the most of the original sound” is adhered to, and no fancy equalization is used to cover up any flaws. After fully understanding the meaning of recording, I focused on bringing out its charm to the fullest. The splendor of a live performance depicted with such a sound. That is the biggest charm of this work. Speaking of October 1971 at the Royal Albert Hall, “FIREBALL” had just been released in the previous month, and Roundhouse’s February 1972 was just before the release of “MACHINE HEAD”. Although the performance was full of momentum as it was in the midst of an uphill climb, there was no “familiarity” or “slip” in the communication and improvisation of each person. Even in the solo of “Highway Star”, it is not a repetition of phrases covered in dirt, but is filled with the freshness of true improvisation. Moreover, unlike around 1970, the set list is filled with famous songs that have been recorded, and not only is the performance powerful, but the songs are full of charm. I would especially like to pay attention to “No No No” from “FIREBALL”. Although it was played in the fall of 1971 and early 1972, the set dropped immediately. I can’t believe the day will come when I can listen to this phantom song, which has not been revived to this day, with such a great sound… Of course, the other songs are full of passionate improvisations that are as good as “MADE IN JAPAN”, and “Fireball” also runs through with a live performance like a fiery flame as the title suggests. A great recording that suddenly appeared in modern times after more than 40 years. This is definitely the biggest excavation of 2016. Even though it’s only been three weeks since 2016 started, I can say that I’m convinced, or perhaps it would be more accurate to say “I’m convinced.” It is a recording that is pulled with such persuasive power. A master of shock that shocked the world with its appearance, and suddenly delivered the final blow in 2016, which had just begun. And, this is the only live album in the world that has been repaired to the utmost of its recording. Please come and experience it for yourself! Roundhouse, Dagenham, UK 19th February 1972 PERFECT SOUND Royal Albert Hall, London, UK 4th October 1971 PERFECT SOUND (79:19) Live at Roundhouse, Dagenham, UK 19th February 1972 1. Intro 2. Highway Star 3. Strange Kind Of Woman 4. No No No 5. Child In Time 6. The Mule Live at Royal Albert Hall, London, UK 4th October 1971 7. Lazy 8. Fireball Ian Gillan – Vocal Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums