Deep Purple / Budokan 1973 Original Master / 2CD

Deep Purple / Budokan 1973 Original Master / 2CD / Darker Than Blue

Live at Budokan, Tokyo, Japan 25th June 1973


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The 1973 Japan tour, which was the last day of the second phase of DEEP PURPLE. Among them, the legendary recording master Omoto, who has been performing the “June 25, 1973: Nippon Budokan” performance known as the “Night of Riot,” has unearthed a new miracle!で す Appears on permanent preservation press 2CD.
The legendary recording is one that has been known for its famous classic “SQUARE IT UP”. Although there are many great sound sources in this live, it is a famous recording that has been regarded as a white eye on sound / recording time. This is the Omoto original cassette. You can experience not only the longest live but also clear and natural sound of Budokan Live in turbulence and chaos!

[“6.25” that became a symbol of destiny in 1973] お よ そ Approximately one year since “LIVE IN JAPAN”, a long-awaited first visit to Japan. The band’s second performance in Japan will tell us two bittersweet memories for our Japanese fans. One is the “riot case at Nippon Budokan”, and the other is the end of Osaka performance “The End, Goodbye”. The history of PURPLE has been engraved as the stage of events that remain in rock history from the beginning.
だ け There are only precious 70s visits to Japan and our store archives many masterpieces. In addition, this week’s new album “DEFINITIVE“ THE END ”(Darker Than Blue 279/280)” is also being released at the same time, so let’s organize the collection from the 1973 timetable.

・ June 24 “DEFINITIVE NAGOYA 1973”
・ June 25: Nippon Budokan (riot day) ← ★ This work ★
(Existing “DEFINITIVE BUDOKAN 1973” “SQUARE IT UP” etc.)
× June 26: Nippon Budokan (cancelled)
・ June 27 “FINAL BLACK (Osaka)”
・ June 29 “DEFINITIVE” THE END “” (final performance: Osaka)
* Note: The above are representative works only.

Above, all 5 performances. If it is a sound source enthusiast, the name recording that can not be avoided in any case is a slurry. Even if you look at the sound source, there is a sense of performance and characteristics, and even if you put the history-like things aside and look at the recorded material purely, the specialness of the Budokan performance is still outstanding. This is the third performance of this work. A spectator who exploded dissatisfaction with the band’s failure to respond to the encore caused a riot, making it impossible to perform the next day. If you can keep an eye on this article, you may have seen photos of the arena where the chairs that have been knocked down are successively folded, but as a visualization of the collapse of the band and the anger of the fans, It was a symbolic night.
In this Nippon Budokan, many tapers are turning the equipment to get the miracle “ LIVE IN JAPAN ” reproduction in my hand, and even in the CD age, many famous boards such as “ DESTROYED THE ARENA ” were born, Our shop has introduced definitive document titles such as “BUDOKAN 1973” and “DEFINITIVE BUDOKAN 1973”. Many enthusiasts suggest that “at least listen to this” while each has its own personality, such as a well-balanced performance and a capture (albeit fragmentary) of the riot after the performance. “SQUARE IT UP”. This recording was also known to begin with an MC where Goro Itoi introduces the band and tells the performance, and while capturing the performance in a well-balanced manner, it was easy to hear and drawn with a powerful sound. Although the riot scene after the end of the show was not recorded, it was a first-class document title that caught the eye out of the tense feeling that the disturbing air gradually wrapped around the arena without squeezing it out.

[Omoto sound of legendary recording finally revealed] は This time, you will get a miracle of the original master tape of “SQUARE IT UP”!し な が ら While using the taste of Omoto Master as it is, careful treatment was given, and it was permanently stored on two press CDs as the definitive sound source to convey to future generations.
In the past, “SQUARE IT UP” faded in from the scene where Mr. Itoi introduced “Deep Purple!”, But in this work, the taper operated the equipment, and the sound of the tape rotating with the curl Dare recorded. Mr. Itoi’s MC is also longer (although it is 1-2 seconds, 1).
サ ウ ン ド More than that is the sound that goes through the whole story. This is the best vintage you can’t even say. Even if it is lined up with “DEFINITIVE BUDOKAN 1973” introduced earlier, it competes for the top of the same day, and the clarity like removing two thin films from “SQUARE IT UP” is dazzling. It reproduces the performance of the band down to the finest nuances. Dynamism with “Highway Star”, which flows with the subtle warmth of “Kiyoshi no Kono” played by Hammond before the start, and explodes with a violent distortion sound!ダ イ The dynamism that should be called the real thrill of Phase II PURPLE is drawn vividly. It has been said in public opinion that the tension is low in Japan in 1973, but it becomes incredible enough to hear the driving play of the crazy barking Gillan and Richie.
In the following “ Smoke On The Water ”, Richie’s bluesy ad lib solo played at the beginning felt the budding for the third period, the groovy performance was taken over in “ Strange Kind Of Woman ” as it is, Bach’s Rondo style The intro to the avalanche from Gavotte is also great. “Child In Time,” where the rich John’s organ and the rich Ritchie’s guitar sound rival each other, and Giran’s screams cut through the space, is exactly a reproduction of “LIVE IN JAPAN”. Please enjoy the quiet part where the sound and singing voice sound clearly by yourself! In the original master, there was a gap of about 20 seconds in the second half of the drum solo, which was thought to be a tape change (this was the same in “SQUARE IT UP”), but in this work, the same part of “DEFINITIVE BUDOKAN 1973” Has been seamlessly compensated for and has been reproduced without exhaustion of the full show.

[End MC triggered?ア ウ ト The outro where the signs of riot sneak up is also the longest in the past] The show ends dramatically with “Space Truckin ‘” for about 27 minutes, but from there it is the biggest listening point of this work!糸 Mr. Itoi speaks again to the audience seeking encore. Let’s write it out just a bit too historically.

“Thank you very much. Deep Purple concert. In the middle of the performance, some people threw fireworks at the stage, but I think that is probably not a rock fan. I’m sorry for the inconvenience. Thank you very much. Thank you very much. ”

MC Even in a calm tone, this end MC that somehow got angry and excited. In this work, you can hear this historical word-for-word. According to one theory, not only was there no encore, but this MC struck the audience’s emotions. Some analysts say it has triggered a riot (the firecracker was also thrown during the “Smoke On The Water” performance). Immediately after this, cheers and anger issued from the audience. Clapping to recall the band … Tensions, which are difficult to describe in words, are increasing. The child’s scene, “SQUARE IT UP”, had faded out about 50 seconds after MC, but this ex-master lasts 90 seconds. The audience, who saw that the band would not return, gradually became murderous, and the inside of the hall began to be killed. The feminine voice heard from a distance is more like a scream than a cheer. Recording ends here. “It’s going to be a terrible thing after this,” maybe the taper thought so, and maybe he stopped recording.

で も Even at the end of Phase II, the performance in Japan in 1973, which was comparable to “LIVE IN JAPAN”, the performance “6.25” where many masterpiece audience masters remained on the audience side. Immediately after this riot, she carried an indelible black shadow. The nervous mood is an overwhelming book, but the only thing that can be said in that case is the wonderful performances recorded with great sound. An original master that has taken the mood of stress and the performances that should be left for future generations on site. A live album that is truly a cultural heritage and a proof of the incident. Please enjoy with permanent preservation press 2CD.

第II期DEEP PURPLEにとって最後の日々となった1973年ジャパンツアー。その中でも「暴動の夜」として知られる「1973年6月25日:日本武道館」公演を伝えてきた伝説録音の大元マスターが奇跡の新発掘! 永久保存プレス2CDで登場です。
その伝説録音とは、伝統の名盤『SQUARE IT UP』で知られてきたもの。このライヴには素晴らしい音源が何本も存在しているものの、サウンド/収録時間で白眉とされてきた名録音です。本作は、その大元オリジナル・カセット。激動と混沌の武道館ライヴを過去最長なだけでなく、クリアかつナチュラルなサウンドで現場体験していただけます!

待望の初来日を活写した『LIVE IN JAPAN』からおよそ一年。バンドにとって二度目の来日公演は、私たち日本のファンにとって、2つのほろ苦い記憶と共に語られます。1つは「日本武道館での暴動事件」、もう1つは大阪公演の終焉宣言「ジ・エンド,グッバイ」……。PURPLE史は元より、ロック史上にも残る事件の舞台として刻まれています。
貴重な70年代の来日だけあって当店では数々の傑作でアーカイヴ。さらに今週は新名盤『DEFINITIVE “THE END”(Darker Than Blue 279/280)』も同時リリースでもありますので、ここで1973年当時のとスケジュールからコレクションを整理しておきましょう。

・6月25日:日本武道館(暴動日) ←★本作★
・6月27日『FINAL BLACK(大阪)』
・6月29日『DEFINITIVE “THE END”』(最終公演:大阪)

この日本武道館は、奇跡の『LIVE IN JAPAN』再現を我が手に収めんと多くのテーパーが機材を回しており、CD時代に入っても『DESTROYED THE ARENA』など多くの名盤が生まれ、当店でも『BUDOKAN 1973』や『DEFINITIVE BUDOKAN 1973』といった、決定的ドキュメント・タイトルをご紹介してきました。バランスよく演奏を収めたもの、公演後の暴動を(断片的とはいえ)捉えたものなど、それぞれが個性を持つ中で、多くのマニアが“最低限これは聴いておけ”と推すのが『SQUARE IT UP』。この録音は、糸居五郎氏がバンドを紹介し開演を告げるMCに始まる事でも知られ、演奏をバランス良く捉えつつ、聴きやすく迫力あるサウンドで描き切っていた。終演後の暴動シーンこそ未収録ではありますが、次第に不穏な空気がアリーナを包んでいく緊張感まで、細大漏らさず克明に捉えた、第一級のドキュメント・タイトルでした。

今回はそんな『SQUARE IT UP』のオリジナル・マスターテープを奇跡の入手! 大元マスターの味をそのまま活かしながらも、入念なトリートメントを施し、後世へ伝えるべき決定的音源として2枚のプレスCDで永久保存したのです。
かつての『SQUARE IT UP』は、糸居氏の「ディープ・パープル!」と紹介する場面からフェイドインしていましたが、本作ではテーパーが機材を操作し、テープがキュルキュルと回転する音も敢えて収録。糸居氏のMCも(1-2秒ではありますが1)長くなっています。
それ以上なのが全編を貫くサウンド。これはもう、得も言われぬ極上ヴィンテージ。以前ご紹介した『DEFINITIVE BUDOKAN 1973』と並べても同日の頂点を争うもので、『SQUARE IT UP』から薄膜を二枚は取り去ったようなクリアさが眩しい。バンドの演奏を細かなニュアンスまで再現してくれるのです。開演に先立ちジョンがハモンドで奏でる「きよしこの夜」の仄かな温みをもって流れ、暴虐なディストーション・サウンドで爆発的に駆け出す「Highway Star」とのダイナミズム! 第II期PURPLEの醍醐味とも言うべきダイナミズムが鮮やかに描かれる。世評では「1973年来日はテンションが低い」とも言われてきましたが、狂おしく吠えるギランとリッチーのドライヴィングなプレイを聴くほどに信じられなくなります。
続く「Smoke On The Water」は、リッチーが冒頭でプレイするブルージーなアドリブ・ソロが第III期への萌芽を感じさせ、グルーヴィな演奏はそのまま「Strange Kind Of Woman」でも引き継がれ、バッハのロンド風ガヴォットから一気に雪崩れ込むイントロも最高。芳醇なジョンのオルガンと骨太なリッチーのギター・サウンドがせめぎ合い、ギランの雄叫びが空間を切り裂く「Child In Time」は、まさに『LIVE IN JAPAN』の再現。楽音と歌声がクリアに響く静かなパートは、ぜひご自身の耳でお確かめいただきたい! なお、オリジナル・マスターではドラムソロの後半で、テープチェンジと思しき約20秒の欠落が存在しましたが(これは『SQUARE IT UP』でも同じでした)、本作では『DEFINITIVE BUDOKAN 1973』の同部分によりシームレスに補填されており、フルショウを余さず再現しています。

【終演MCが引き金を引いた? 暴動の気配が忍び寄るアウトロも過去最長】
ショウは約27分におよぶ「Space Truckin’」で劇的に幕を閉じますが、そこからが本作最大の聴きどころ! アンコールを求める観客に、糸居氏が再び語り掛けるのです。あまりも歴史的だけに、ちょっと書き出してみましょう。


落ち着いたトーンの中にも、どこか怒りと興奮をしのばせたこの終演MC。本作は、この歴史的な一言一句が克明に聴き取れるのです。一説によるとアンコールがなかっただけでなく、このMCが観客の感情を逆撫で。暴動のトリガーになったとする分析もあります(なお、爆竹が投げ込まれたのは「Smoke On The Water」演奏中とも言われます)。そしてこの直後、客席から湧き上がる歓声と怒号。バンドを呼び戻そうとする手拍子………何とも言葉にし難い緊張感が高まっていくのです。子のシーン、既発『SQUARE IT UP』はMC後およそ50秒でフェイドアウトしていましたが、今回の元マスターは何と90秒も続く。バンドが戻らない事を察した観客が次第に殺気立ち、場内が殺伐としていく、その様子。遠くから聞こえる女性らしき声は、歓声と言うよりもう悲鳴に近い。録音はここで終了します。「この後、ヤバい事になりそう」もしかしたらテーパーもそう思って、録音を打ち切ったのかも知れません。

第II期終焉の1973年来日公演でも『LIVE IN JAPAN』に匹敵する演奏を繰り広げ、客席の側でも多くの傑作オーディエンス・マスターが残された“6・25”。この直後に起きた暴動によって、拭い切れない黒い影を背負ってしまいました。その緊迫したムードが絶大な本作ではありますが、その事件だけで語られるのはもったいないほど名演も素晴らしいサウンドで記録されているのです。緊迫のムードも後世に残されるべき名演も現場で吸い込んだオリジナル・マスター。まさに文化遺産であり、事件の証拠物件でもあるライヴアルバム。どうぞ、永久保存プレス2CDでお楽しみください。

Darker Than Blue 277/278


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