Deep Purple / Definitive Boston 1973 / 2CD

Deep Purple / Definitive Boston 1973 / 2CD / Darker Than Blue

Live at Boston Music Hall, Boston, MA, USA 24th May 1973 TRULY PERFECT SOUND(UPGRADE)


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In the second phase of the 1973 DEEP PURPLE in 1973, a masterpiece that was highly acclaimed as an “excellent daimyo board” was brushed up. It is a permanent preservation press 2CD with the highest peak.
の What is recorded on the nameplate is “May 24, 1973, Boston Performance”. Yes, this is an upgraded version of the famous board “BOSTON 1973”, which tells the truth of 1973 with the finest audience sound. I’m worried about the upgrade, but first, the show position. Let’s look back on the schedule at that time.

<< January 13 “Purple Portrait” release >>
・ January 16-February 10: Europe # 1 (16 performances)
・ February 16-28: UK (10 performances)
・ March 5-20: Europe # 2 (10 performances)
・ April 12-June 19: North America (42 performances) ← ★ coco ★
・ June 23-29: Japan (6 performances)
《II Phase DEEP PURPLE Collapse》

[Super name recording representing 1973] This is DEEP PURPLE in the first half of 1973. As you know, the Golden Five will collapse at the end of the second visit to Japan, but the Boston performance of this work is one act of the US tour that was held before that. This was the 23rd concert out of 42. It is said that human relations at the time were the worst, but in fact it was at its height in popularity. “MADE IN JAPAN” released in the United States in April 1973 is the sixth largest in the United States, and the single “Smoke on the Water” released in May is a big hit that rushed to the fourth largest in the United States. Is also a great success. It is a live album that is a vacuum-packed version of an American performance that took place in the midst of unprecedented success.
B “BOSTON 1973”, which recorded such a show, is a famous recording that has been acclaimed as a “masterpiece of 1973”. A recording by masters who recorded masterpieces such as PINK FLOYD and QUEEN in Boston in the 70’s one after another, and digitized from the original master of the recorder. Although the recording itself was known before “BOSTON 1973”, it was the longest version that recorded a total of about 5 minutes long, such as waiting for encores and between songs. Its overwhelming clarity and powerful core were so vibrant that it could smash any soundboard.
In addition, not only the sound but also the performance was amazing. At this time, the image is generally poor due to poor relationships, but this Boston show is incredible. From the opening “Highway Star”, both Richie and John have high tension. In “Smoke On The Water”, Ritchie performed a solo incorporating a Middle Eastern phrase, and also performed a crisp solo in “Strange Kind Of Woman” where intro jam was heard for almost 2 minutes. Performances full of such spontaneous atmosphere jumped out one after another, and in 1973, the precious “Lucille” was not interrupted. Giran is the one who jumps out. Especially in “Child In Time”, the terrible vocalization that wants to be described as the career best is roared, and the use of intense screams and delicate and emotional voices is also goose bumps. Of course, the interaction between the guitar and the organ and the solo seemed to be like a storm, and this high tension “Child In Time” was also played in 1973. Audience recording.

[Natural sound renewing the highest peak] And this work further updated the highest peak of the legendary name recording. Back to the original master, I refined it again with meticulous mastering, but the biggest point is the natural texture. “BOSTON 1973” also sounded great, but in fact, this recording had a strong treble attack. The first appearance in 2009 was said to be “good” because it was also in the Loudness War era, but it is a little painful to the earliest natural standards. Aside from the truth of the recording, it had to be said that the sound was incompatible with the “truth of the field”. Under such circumstances, the mastering policy of this work was “reproduction of on-site sound”. Of course, it doesn’t mean that it’s a perfect match because it’s not a re-recording, but it’s a much more natural sound that is as close as possible to the original DEEP PURPLE II sound.
全 The whole story and all the notes have been reborn, but are the vocals especially easy to understand? Of course, Ian Gillan’s metal shout remains sharp, but its pronunciation is much easier to hear. In particular, “Sa Shi Su Se So”. If you are familiar with the recording situation, you may know that not only the sound board / audience but also the peak of the line tends to be distorted, but this work can hear the peak naturally without being caught. Another thing is drums. In “BOSTON 1973”, hardware such as cymbals was particularly kinkin, and the peak of the hammering sound was a half burst sound. Here, too, it is finished in a sound that can be heard naturally while being sharp.

This is the highest peak of 1973. At some point, the images of the people have been unsavory, according to their testimony, but in the United States, there was no choice but to burn the crowd at its peak. You can experience such a hot live not only with super clear & direct, but also with the sound that updated the highest peak with a natural feeling. Since the amazing new excavation board “LONG BEACH ARENA 1973 (Darker Than Blue 272/273)” will be released at the same time, it has become difficult to affirm “1971 No. 1” lightly, No doubt it is the best version. Simultaneous release of old and new daimyo editions that overturn the image of 1973. Please enjoy it with the permanent preservation press CD.

崩壊迫る1973年の第II期DEEP PURPLEにあって「破格の大名盤」と絶賛された名作がブラッシュ・アップ。最高峰を更新した永久保存プレス2CDで登場です。
その名盤に記録されているのは「1973年5月24日ボストン公演」。そう、1973年の真実を極上オーディエンス・サウンドで伝えてきた名盤『BOSTON 1973』のアップグレード盤です。そのアップグレードぶりが気になるところですが、まずはショウのポジション。当時のスケジュールを振り返ってみましょう。


これが1973年上半期のDEEP PURPLE。ご存じの通り、二度目の来日公演を最後に黄金の5人は崩壊してしまうわけですが、本作のボストン公演はその前に行われた全米ツアーの一幕。全42公演中23公演目にあたるコンサートでした。当時の人間関係は最悪だったとも言われますが、実のところ人気面では絶頂期。1973年4月に米国発売された『MADE IN JAPAN』が全米6位、5月にリリースされたシングル『Smoke on the Water』が全米4位へ駆け上がる大ヒットとなっており、それに伴ってツアーも大盛況。まさに空前の大成功真っ直中で行われたアメリカ公演を真空パックしたライヴアルバムなのです。
そんなショウを記録した『BOSTON 1973』は、以前から「1973年の代表作」として絶賛されてきた名録音中の名録音。70年代のボストンでPINK FLOYDやQUEEN等の名作を次々と記録した名手による録音で、しかも、録音者のオリジナル・マスターからデジタル化されたもの。『BOSTON 1973』以前から録音自体は知られていましたが、アンコール待ちや曲間など、トータルで5分ほど長く収録された最長版だったのです。その圧倒的なクリアさも力強い芯もそんじょそこらのサウンドボードを蹴散らすほどに鮮やかだったのです。
しかも、サウンドだけでなく、演奏までもが凄かった。この時期は人間関係の悪さから一般的にイメージが良くないのですが、このボストン公演はそれが信じられないほど素晴らしい。もうオープニングの「Highway Star」からリッチーもジョンもテンションが高い。さらに「Smoke On The Water」ではリッチーが中近東風のフレーズを織り込んだソロを奏で、2分近くイントロ・ジャムを聴かせる「Strange Kind Of Woman」でもきびきびしたソロを披露。そんなスポンテニアスな雰囲気たっぷりの演奏が次々と飛び出し、1973年には貴重な「Lucille」まで途切れない。そして、飛びっきりなのがギラン。特に「Child In Time」ではキャリア・ベストと言い切りたい凄まじいヴォーカリゼーションを轟かせ、強烈なスクリームと繊細でエモーショナルな声の使い分けも鳥肌モノ。もちろんギターとオルガンの掛け合いとソロも嵐のようで、これだけテンションの高い「Child In Time」が1973年にも演奏されていた……そんな事実を実際の音で突きつける、まさに1973年の最高峰となるオーディエンス録音でした。

そして、本作はその伝説的名録音の最高峰をさらに更新したのです。元マスターに遡って改めて細心マスタリングで磨き込んだのですが、最大のポイントはナチュラルな質感。『BOSTON 1973』も素晴らしいサウンドではあったのですが、実はこの録音はそもそも高音のアタックが強い。初登場の2009年はラウドネス・ウォー時代でもあったために「それで良し」とされてきたのですが、ナチュラル志向の現代基準ではやや耳に痛い。録音の真実はさておいても「現場の真実」にはそぐわないサウンドと言わざるをえなかったのです。そんな中で決まった本作のマスタリング方針は「現場音の再現」。もちろん、録音し直すわけではないので完全一致とまではいきませんが、遙かにナチュラルで第II期DEEP PURPLE本来のサウンドに限りなく近い音を実現したのです。
もう全編・全ノートが生まれ変わっていますが、特に分かりやすいのはヴォーカルでしょうか。もちろん、イアン・ギランの金属シャウトは鋭いままですが、その発音が断然聴きやすくなっている。特に「サ・シ・ス・セ・ソ」。録音事情に詳しい方ならサウンドボード/オーディエンスに限らず、サ行のピークに歪みが発生しやすい事をご存じかも知れませんが、本作はそのピークも引っかかりなく自然に聴けるのです。もう1つ挙げるならドラム。『BOSTON 1973』では特にシンバルなどの金物類がキンキンとしていて、打音ピークに至っては半ば炸裂音になっていた。ここもまた、シャープなままに自然に聴けるサウンドに仕上がっているのです。

まさに1973年の最高峰。当人達の証言によって芳しくないイメージもある時期ですが、こと全米に関しては人気絶頂の観客を前に燃えないわけがなかった。そんな熱いライヴを超クリア&ダイレクトなだけでなく、ナチュラル感で最高峰を更新したサウンドで現場体験できるのです。驚異の新発掘盤『LONG BEACH ARENA 1973(Darker Than Blue 272/273)』も同時リリースとなるため、軽々に「1973年のNo.1」と断言しづらくなりましたが、歴史的名録音のベスト・バージョンなのは間違いない。1973年のイメージを覆す新旧大名盤の同時リリース。どうぞ、永久保存プレスCDで存分にお楽しみください。

Disc 1(40:30)
1. Intro.
2. Highway Star
3. Smoke On The Water
4. Strange Kind Of Woman
5. Child In Time

Disc 2(56:03)
1. Keyboard Solo
2. Lazy
3. Drum Solo
4. The Mule
5. Space Truckin’
6. Lucille

Ian Gillan – Vocal
Ritchie Blackmore – Guitar
Roger Glover – Bass
Jon Lord – Keyboards
Ian Paice – Drums

Darker Than Blue 274/275

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