Rory Gallagher/CA, USA 1973

In 1973, Rory Gallagher entered a golden age with Lou Martin and Rod Diaz. A shocking new excavation master who conveys the scene is now available. This work was recorded at “April 15, 1973 Long Beach Performance”. This is the best audience recording. Some people may be struck by this date and “new excavation.” This week, DEEP PURPLE’s new excavation live album “LONG BEACH ARENA 1973” will be permanently preserved, but this work is the Rory edition that served as the opening act on the same day and at the same venue. However, this work is not a bonus to DEEP PURPLE, but a live album that is more than enough to stand alone. First, let’s check the show’s position from Rory’s own schedule.・January 12th – February 17th: Europe #1a (22 performances)《BLUEPRINT” released on February 18th》 ・February 18th – March 17th: Europe #1b (19 performances) ・March 19th Sunday – May 30th: North America #1 (59 performances) ←★Coco★ ・June 11th – August 24th: Europe #2 (5 performances) ・September 3rd – October 18th: North America #2 (31 performances) ・October 23rd – November 9th: Europe #3a (14 performances) [TATTOO released on November 11th] ・November 18th – December 31st: Europe #3b (30 performances) This is Rory Gallagher in 1973. In this year, two masterpieces “BLUEPRINT” and “TATTOO” were released in succession, but the Long Beach performance of this work was a tour held in between. This was the 24th concert of “North America #1″. This may seem normal, but if you look closely at the above schedule, you will see that it was not normal. After all, “North America #1” had 59 performances in 73 days. This was an average pace of 5.7 performances per week, a busy schedule that felt like a businessman’s business. Moreover, this was also the largest and largest North American tour in Rory’s life. This is a record from an era when players were able to hit all over the United States with the spirit of “Let’s compete!” This work, recorded at such a show, is the same as the DEEP PURPLE edition, which has been preserved forever…It cannot be said that it is true. In fact, the DEEP PURPLE edition was an unknown master of the “Krw_co” collection, but this work is a reel master by the “JEMS”. The two prestigious works are collaborating to excavate, and it is probably the same generation by the same recording person, but this work is more definitely of master quality. In fact, the sound of this work is superb. The DEEP PURPLE edition was also a soundboard-like direct sound, but this work was close enough to be intense, probably because it was the undercard and there were few audiences. Rory’s guitar and singing voice are playing right in front of my eyes, without any sense of distance. Although the number of members has increased to four with the addition of a keyboard, the clarity of each note is extremely clear and does not mix even if it resonates harshly. I missed the permanent preservation press because of the squealing sound here and there, but the basic quality is so good that there is no need to say “for the 70’s”. Even if it is a modern recording, it is an incredible recording that can be praised as “just like a soundboard!” Moreover, this work has been brushed up with meticulous mastering of such a transcendental recording. In fact, the original sound posted online was exactly as it was transferred, and if the pitch was significantly off, distortion could be seen throughout. This work carefully treats each of those areas one by one. As expected, there is no way to fix the squealing sound, but it has achieved a level of perfection that allows you to fully immerse yourself in it as a musical work. The show drawn with such shocking sound is also incredibly intense. It’s a rich blues rock that packs the early solo career into about 50 minutes. As mentioned above, this day is the undercard of DEEP PURPLE (FLEETWOOD MAC was also the undercard on that day), so it is a short set, but that is why the set and the performance are so special. He selected one representative song from each of his three albums, from his solo debut to his latest work at the time, “BLUEPRINT,” and sandwiched it with “Messin’ With The Kid” and “Bullfrog Blues,” which brought him success with “LIVE IN EUROPE.” It’s so rich that you can’t narrow it down any further. And then play. As mentioned earlier, he was burning with desire to win the U.S. title, but he also had no time to get tired of playing short sets. The guitar and vocals burst out with the energy of a full show, running at full speed for about 50 minutes. The members are the same as “IRISH TOUR ’74”, but the amount of heat emitted is even more scorching. You can experience such a stage on-site with super superb sound. Rory Gallagher is one of the best in the world, playing scorching blues rock. This is a vacuum-packed live album of the “spring of 1973,” when his ambition and passion were at their peak in his career. Some people may pick it up because it’s the opening act for DEEP PURPLE, but that’s not really the case. No matter how wide the world is and how long rock history is, it is not every day that you come across such a passionate blues rock live performance. Although there are a few squealing sounds that cannot be corrected by mastering, this is still a masterpiece that can only be called a cultural heritage. Please indulge yourself in the rich blues to your heart’s content. Long Beach Arena, Long Beach, CA, USA 15th April 1973 TRULY AMAZING/PERFECT SOUND (50:32) 1. Intro 2. Messin’ With The Kid 3. Hands Off 4. Band Introductions 5. Should’ve Learnt My Lesson 6 Laundromat 7. Bullfrog Blues Rory Gallagher – guitar vocals Gerry McAvoy – bass Lou Martin – keyboards Rod de’Ath – drums