Deep Purple / Definitive Budokan 1973 / 4CD

Deep Purple / Definitive Budokan 1973 / 4CD / Darker Than Blue
Translated text:
Live at Budokan, Tokyo, Japan 25th June 1973

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A new excavation series of shocks, the emergence of the perfume. Three live albums will be released at the same time from “Fate of 1973” this week, but one of them is a class. It is a major decision board of the “June 25, 1973: Nippon Budokan” known as that “night of rebellion”.
What is more striking than anything is that the two are simultaneously excavated with the new sound source (!) For the first public release. Even though the excavation series of last week and this week were both master of new appearance, the recording itself was the same as the previous episode. However, this work is a 4-piece set of “New Master of Recording and Recording” on Disk 1 – 2 and “New Recording” on Disk 3 – 4. Of course, these two types are different recordings, so the missing parts such as tape changes are different. So it has become a complete version by not only new excavation but also two kinds of mutual complement.
It is a place to worry about its contents, but this week we released three as well from “Japan in 1973”. Let’s summarize representative works of each day including the meaning of that arrangement.

· June 23: Hiroshima City Auditorium “DEFINITIVE HIROSHIMA 1973”
· June 24: Nagoya City Auditorium “DEFINITIVE NAGOYA 1973”
· June 25: Nippon Budokan 【this work】
· June 26: Nippon Budokan (canceled)
· June 27: Osaka Health Pension Center “FINAL BLACK”
· June 29th: Osaka Health Pension Center “” THE END “”
(* Representative press titles for each day only)

【Disk 1-2: Longer Riot Master】
First of all, it is the new master who upgraded further while recording same as the previous episode. Speaking of the decision board of this day, although it is a shock work “BUDOKAN 1973 (Darker Than Blue 199/200)” which also recorded the great riot, this work is the same recording as that. But longer, the sound is another great master. First of all, it sounds surprising to play. It is a superb recording that was praised as “Best Sound of Japan in 1973”, but this work is more natural and extremely thick musical sound. The best thing is that the noise is minimal clear. Although it was also exceptional in “BUDOKAN 1973”, there seemed to be a dubbing that raised the mute part in the process of distribution, and hiss noise and bass hum noise were conspicuous in a quiet part. Therefore, there was a strange sense of incongruity in the dynamically expanded song.
Because it became a difficult to understand expression concrete example. If you already have a departure please listen to “18 minutes of” Space Truckin ‘”. Boost your sense of tension and explode at once! It is, but I think that you can see that the silence “Sea” becomes bigger with this silence. The performance is there! As he comes in, Hiss disappears. With this, it sounds as if the tape is broken. However, this is a seamless performance. There is no such unnatural volume processing in this master, the mute part remains weak. Doctor! Even though it comes in, it is extremely natural to be exposed to the second stage of explosive power. Of course, this is one example, and here alone is not terrible. It is packed full of natural and clear sound throughout the entire story.
What is more shocking is the longer part. That part is the “big” riot scene that is not the other. “BUDOKAN 1973” stops the tape once after the performance of “Space Truckin ‘”. After that, a riot scene was recorded for about 50 seconds, but this work is recorded for 2 minutes 17 seconds.
Besides being long, the contents are amazing. I could listen to the sound of the pipe chair colliding with “BUDOKAN 1973”, but it was even more terrible after that. When the woman raise the scream similar to screaming (not saying that the words can not be heard), the whole venue is roaring, the sound of the glass breaks, van! Pops bursting, donkeys bumping! Impact sound … …. Even the band is angry, the mob is shouting, and even a bold anger is recorded securely. You can experience that frozen document more realistically and longer.

【Disk 3-4: New recording for first appearance】
What a terrible new master, but more shocking is Disk 3-4. This is not an upgrade, it is a new recording that will be first public.
It is a sound to give to the name recording (disc 1-2) which was truly said to be “No.1 in Japan in 1973”, but it is useless because it is “the apex” of the opponent. This recording is also a wonderful vintage audience (if not, it will not be pressed etc. by coupling). What’s more than happy is that Richie Blackmore’s guitar and John Road’s organ are extremely thick and details are clear. Especially picking up a guitar that is struck by parts between songs and extremely weak sounds greatly. Parts that were unclear even in name recording can be heard clearly.
Also, as I mentioned earlier, the cut point is different only for another recording. The tape change part (about 33 seconds) of the cut point “The Mule” of Disk 1-2 is supplemented here. Conversely, this cut point (opening part / Child In Time middle part 11 seconds / “The Mule” after the performance concert 30 seconds) is supplemented with the master of Disk 1-2. Unfortunately the first appearance master did not include the riot scene, but after the “Space Truckin ‘” performance it has been recorded for about 10 seconds.

Although it got a lot of small talks, it also is nothing else because “June 25th: Nippon Budokan” is too historical. A new master who recorded that big riot for a long time and a first appearing master who appeared newly. And complete version achieved by mutual complementation while shocking … …. Even in this new excavation series, it is definitely the biggest and the most powerful serious work that is a big one. Please, please experience and experience.


・6月23日:広島市公会堂 『DEFINITIVE HIROSHIMA 1973』
・6月24日:名古屋市公会堂 『DEFINITIVE NAGOYA 1973』
・6月25日:日本武道館 【本作】
・6月27日:大阪厚生年金会館 『FINAL BLACK』
・6月29日:大阪厚生年金会館 『”THE END”』

まず登場するのは、既発と同録音ながらさらにグレードアップした新マスター。この日の決定盤と言えば、大暴動も収録した衝撃作『BUDOKAN 1973(Darker Than Blue 199/200)』ですが、本作はそれと同録音。しかし、さらに長く、サウンドも素晴らしい別マスターなのです。まず、再生して驚くのはサウンド。既発からして“1973年日本のベスト・サウンド”と激賞された極上録音なのですが、本作はさらにナチュラルで極太の楽音。何よりも素晴らしいのは、ノイズが極小なクリアさ。『BUDOKAN 1973』でも破格ではあったものの、流通の過程で弱音部を上げるようなダビングがあったらしく、静かなパートではヒスノイズや低音のハムノイズが目立ってもいました。そのため、ダイナミックに展開する曲では妙な違和感もあったのです。
分かりづらい表現になってしまったので具体例。既発をお持ちでしたら「Space Truckin’」の18分台を聴いてみてください。しずーかに緊張感を高めて一気に爆発!となるのですが、この静寂で「シー」というヒスが大きくなるのが分かると思います。そこに演奏がドカン!と入ってくると、ヒスが消える。これにより、まるでテープが切れているように聞こえるのではないでしょうか。ところが、これはシームレスな演奏。今回のマスターにはこうした不自然なボリューム加工がなく、弱音部は弱音のまま。ドカン!と入ってきても極めてナチュラルに第2期の爆発力を浴びられるのです。もちろん、これは1つの例であって、ここだけが凄いわけではありません。全編に渡ってナチュラルでクリアなサウンドが目一杯、詰まっているのです。
さらに衝撃なのが、長くなったパート。そのパートというのが、他でもない“あの”大暴動シーンなのです。『BUDOKAN 1973』では「Space Truckin’」の終演後にテープは一度停止。その後、約50秒ほど暴動シーンが記録されていましたが、本作は2分17秒も収録されているのです。
しかも、長いだけでなく中身も凄い。『BUDOKAN 1973』でもパイプ椅子がぶつかるような破壊音が聴けましたが、その後はもっと凄まじかった。女性が悲鳴にも似た絶叫(言葉が聴き取れないと言うより、言葉になってない)を上げると会場全体がどよめき、ガラスの割れる音、バン!という破裂音、思い物がぶつかっているドン!という衝撃音……。さらにはバンドに怒っているのか、暴徒に叫んでいるのか、野太い怒号までもがしっかりと記録されているのです。あの凍り付くようなドキュメントを更にリアルに、さらに長く体験できるのです。

また、先述もしましたが別録音だけにカット・ポイントが違うのも大きい。ディスク1-2のカット・ポイント「The Mule」のテープチェンジ部分(約33秒)はこちらから補完しています。逆に、こちらのカッ・トポイント(開演部分/「Child In Time」中間部11秒/「The Mule」終演後の曲間30秒)はディスク1-2のマスターで補完しています。残念ながら初登場マスターには暴動シーンは含まれていませんでしたが、「Space Truckin’」終演後は10秒ほど長く収録されています。


Disc 1 (45:16)
1. Intro. 2. Highway Star 3. Smoke On The Water 4. Strange Kind Of Woman 5. Child In Time

Disc 2 (46:12)
1. MC 2. Keyboard Solo 3. Lazy 4. Drum Solo 5. The Mule 6. Space Truckin’ 7. Riot


Disc 3 (45:17)
1. Intro. 2. Highway Star 3. Smoke On The Water 4. Strange Kind Of Woman 5. Child In Time

Disc 4 (44:06)
1. MC 2. Keyboard Solo 3. Lazy 4. Drum Solo 5. The Mule 6. Space Truckin’

Darker Than Blue 249/250/251/252

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