Deep Purple/UK 1972 & more Upgrade

The moment when DEEP PURPLE, the second stage, was about to produce “MACHINE HEAD” at its peak. The super best live album has been brushed up and is now available. There are two performances included in this work. A superb audience recording that mainly includes “February 19, 1972 Roundhouse Performance (5 songs)” and “October 4, 1971 Royal Albert Hall Performance (2 songs)”. Yes, this is the super masterpiece “DAGENHAM ROUNDHOUSE 1972” that shocked us four years ago. [Legendary masterpiece vacuum-packed recording of the miraculous peak period] Deep Purple has a history of over 50 years, but its peak period was extremely short. The sharpness of the performance was terrible in 1970, but when it came time to keep that ferociousness and add even more historic masterpieces to the set, the final blow was from late 1971 to early 1972. “DAGENHAM ROUNDHOUSE 1972” was a masterpiece that allowed you to experience such an extreme scene with the best sound. First, let’s look at the schedule at the time to get an idea of ​​what that situation might look like. 1971《“FIREBALL” released on July 9th》・July 2nd-31st: North America #1 (23 performances)・September 1st-October 11th: Europe #1 (16 performances)←★Here★ 13th performance: October 22nd + 24th: North America #2 (2 performances)《Gillan collapses from hepatitis》《December 6th-21st, production of “MACHINE HEAD”》January 5th, 1972: Hamburg performance ・January 13th-31st: North America #3 (16 performances) February 5th-29th: Europe #2 (12 performances) ←★Here★8th performance [“MACHINE HEAD” released on March 25th] This is The journey from “FIREBALL” to “MACHINE HEAD”. The main roundhouse performance of this work is right before the release of “MACHINE HEAD”. This was the 8th concert of “Europe #2”. And the Royal Albert Hall performance is the 13th performance of “Europe #1” going back even further. The timing was about two months before the Montreux session where “MACHINE HEAD” was produced. Both performances were at the pinnacle of performance and creativity, and when the recording of those two performances, “DAGENHAM ROUNDHOUSE 1972,” first appeared four years ago, it was greeted with a huge impact. The factor is, of course, quality. Even now, new vintage recordings are occasionally discovered, but the sound so far is unprecedented. After all, it’s clear and has a strong direct feel that doesn’t require any “for the 70’s” platitudes. Although the tone is not without audience-like characteristics, the core is thrust right in front of you without any sense of distance, and the details are also super clear. Soundboard level…or should I say, it’s so vivid that even FM broadcasts at the time would have been unable to produce a sound like this. Even if it were a modern recording in the 2020s, it was definitely a quality that could not be introduced as “super-excellent.” [Recorded in 1972, reborn even more clearly and directly] It has become quite long just talking about memories, but this work is a brush-up of such a legendary master. If I had to describe the upgrade in one word, it would be “even clearer.” The previous edition, “DAGENHAM ROUNDHOUSE 1972”, was also mastered, and the pitch of the original sound, which was crazy, was corrected as much as possible. However, the concept is “faithful to the sound inhaled by the master.” By paying the utmost attention to the design of the legendary master, we have permanently preserved the sound that has overcome the barriers of the century and brought us to the present day. On the other hand, the mastering concept of this work is “reproduction of the band’s sound output”. Rather than simply making it look cool when you heard it, we focused on reproducing the sound that DEEP PURPLE would have emitted at the peak of 1972 from the speakers. This is a somewhat ideological explanation, but to be more specific, it’s “more clear.” Although the original sound is natural, the mid-bass is a little thick compared to the band’s original sound. In this work, the sound is precisely adjusted for each range, so that even the minute details of the contour can be heard clearly. As a result, the resulting sound is overwhelmingly vivid, with a direct feel that gets closer to the stage in every position. Even those who felt the “bathroom feel” of the previous edition will be surprised by the clear and clear sound of this album. Another point is “removal of distortion”. Although it was recorded with an amazing sense of stability overall, distortion occurred at the peak at the moment of fortissimo. In this work, such peak chatter and distortion are alleviated as much as possible. We made it possible to enjoy ensembles with natural curves. The smoothness extends to all the songs, but the one that is particularly easy to understand is “Child In Time”. 26-year-old Ian Gillan’s full-throated shout is also beautifully extended. Just to be sure, this work does not have a heavily processed sound (at all). We are pursuing the possibilities of the original sound, and we have not lost any of the realism and natural feel that allows you to feel the presence of the instrument. In fact, the last two songs (recorded at the Royal Albert Hall in 1971) are the type that would become unnatural if you tried to modify them even a little, so I left them as they were. It is a live album that is faithful to the “sound of the band” on the other side of the magnetic tape. The second stage of DEEP PURPLE, which is at its peak with that sound, is truly a miraculous band. By the second half of 1972, the improvisations had become familiar, and each phrase was crisp and full of the thrill of communication and imagination. The ensemble performs valuable songs such as “No No No” and “Fireball.” The sense of fulfillment surpasses even the historical masterpiece “MADE IN JAPAN”… It is a great performance that I would like to say. “DAGENHAM ROUNDHOUSE 1972”, which first appeared four years ago, was a live album that was created as a musical work while cherishing the sound of the unearthed master. On the other hand, this work is one that takes the challenge to the “extreme” level. A super masterpiece that overcomes not only time and space, but even the wall of magnetic tape, and comes close to the very existence of “Phase II DEEP PURPLE”. (Remastered memo) The thick part of the mid-low range has been softened to make the whole sound clearer. Originally, there was a distortion component in the excessive input part, so I eased it as much as possible. (Especially the shout part of Child In Time) (Pitch adjustment) Roundhouse adjusts the pitch that is randomly out of order from about 20 to 100% of a semitone. It’s a lot more random so it’s harder to fill in than usual, but I’m trying to fix it as much as possible. RAH adjusts the pitch about 25% faster than a semitone. Roundhouse, Dagenham, UK 19th February 1972 TRULY PERFECT SOUND(UPGRADE) (79:21) 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 Ritchie Blackmore – Guitar Ian Gillan – Vocal Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums