Deep Purple / Dagenham Roundhouse 1972 – 2nd Press / 1CD

Deep Purple / Dagenham Roundhouse 1972 – 2nd Press  / 1CD / Darker Than Blue

Roundhouse, Dagenham, UK 19th February 1972


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The moment of the peak of the second stage DEEP PURPLE, which was just creating “MACHINE HEAD”. The super finest live album is brushed up and appeared.
2 There are two performances in this work. A superb audience recording with the addition of “February 19, 1972 Roundhouse Performance (5 songs)” and “October 4, 1971 Royal Albert Hall Performance (2 songs)”. That’s right, it’s a super famous board “DAGENHAM ROUNDHOUSE 1972” that shook the shock four years ago.

[Legendary name recording vacuum-packed during the miracle climax] 深 The history of deep purple over 50 years, but its peak period was extremely short. The sharpness of the performance was terrible in 1970, but while maintaining its terribleness, when it was time to add even more historic masterpieces to the set, I stabbed it from the late 1971 to the early 1972. “DAGENHAM ROUNDHOUSE 1972” was a great masterpiece that allowed you to experience such a superb site with the finest sound. First, let’s take a look at the schedule at the time to imagine such a situation.

● 1971
<< July 9 “FIREBALL” release >>
・ July 2-31: North America # 1 (23 performances)
・ September 1-October 11: Europe # 1 (16 performances) ← ★ Coco ★ 13 performances
・ October 22 + 24: North America # 2 (2 performances)
《Gilan falls down with hepatitis》
<< Production of “MACHINE HEAD” from December 6 to 21 >>
● 1972
・ January 5: Performance in Hamburg
・ January 13-31: North America # 3 (16 performances)
・ February 5-29: Europe # 2 (12 performances) ← ★ Coco ★ 8 performances
<< March 25 “MACHINE HEAD” release >>

This is the process from “FIREBALL” to “MACHINE HEAD”. The main roundhouse performance of this work is just before the release of MACHINE HEAD. It was the 8th concert of “Europe # 2”. And the Royal Albert Hall performance goes further back and is the 13th performance of “Europe # 1”. It was about two months before the Montreux session when MACHINE HEAD was created.
The performances and creative aspects of the two performances were both great, but the “DAGENHAM ROUNDHOUSE 1972”, which recorded those two performances, first appeared four years ago, and was greeted with a huge shock. The factor is, of course, quality. Even today, there are rarely new discoveries of vintage recordings, but the sound so far is unparalleled. After all, the clear and intense direct feeling that the pillow of “70s” is unnecessary. Although the tone is not an audience, the core is stuck in front of the eyes and the details are super clear. Sound board-class … I guess, even in FM broadcasting at that time, the sound so far would be crisp. Even if it was a recording of the 2020s, it was definitely a quality that could not be helped without introducing “super-superior”.

[More clearly, directly reborn 1972 recording] It’s been a long time just for memorable stories, but this work is a brush-up of such a legendary master. To express the upgrade for the first time in a word, “Clear more”. The last edition of “DAGENHAM ROUNDHOUSE 1972” was also mastered, and the pitch of the crazy original sound was corrected to the maximum. However, the concept is “faithful to the sound inhaled by the master.” He paid the utmost attention to the legendary master’s design and preserved the sound that passed the century barrier and brought it to the present age. On the other hand, the mastering concept of this work is “reproduction of band sound”. Rather than trying to make the feeling of listening easy and cool, we focused on reproducing the sound that the peak DEEP PURPLE of 1972 would have produced on site from the speakers.
説明 It has been a bit of an ideal explanation, but more specifically, “clearer”. The sound of the original sound is natural, but the middle and low frequencies are slightly thicker from the original sound of the band. In this work, the sound was precisely adjusted for each range, so that the fine details of the contour could be heard clearly. As a result, the sound created is overwhelmingly vivid, and the direct feeling is getting closer to the stage every position. Even if you feel the feeling of “bathroom” in the last edition, this work will surely surprise you with the clear sound.
Another point is “elimination of distortion”. On the whole, it was recorded with an incredible sense of stability, but at the moment of Fortissimo, peaks were also distorted. In this work, such peak chatter and distortion are reduced as much as possible. The ensemble could be enjoyed with a natural curve. The smoothness extends to all songs and the whole, but what is particularly easy to understand is “Child In Time”? The 26-year-old Ian Gillan’s whole shout grows beautifully.
Please note that this work is (never) not a slick sound. We pursue the possibility of the original sound to the last, and the realism and natural feel to feel the presence of the instrument have not lost any pieces. As a matter of fact, the last two songs (recorded in Royal Albert Hall in 1971) are unnatural when trying to make any changes, and the original sound is left as it is. It is a live album that is faithful to the “band sound” on the other side of the magnetic tape.

絶 The second stage of the peak, DEEP PURPLE, drawn with that sound is just a miracle band. In the latter half of 1972, the improvisation, which became familiar to me, was very crisp, full of thrill and imagination. The ensemble will also showcase valuable “No No No” and “Fireball”. The sense of fulfillment surpasses even that historical daimyo board “MADE IN JAPAN” … It is a great performance that I would like to express.
DADAGENHAM ROUNDHOUSE 1972, which first appeared four years ago, was a live album that was prepared as a music piece while cherishing the sound of the unearthed master. On the other hand, this work is one piece that challenged “extreme”. A super masterpiece that overcomes not only time and space, but even the wall over magnetic tape, to the very essence of “DEEP PURPLE II.” Please enjoy it to your heart’s content with a permanent preservation press CD.

(Remaster memo)
● The thick part in the middle and low frequencies has been relaxed to make the whole clear.

● Originally, there was a distortion component in the over-input part, so it was eased as much as possible. (Especially the Shout part of Child In Time)

(Pitch adjustment)
★ Roundhouse adjusts the pitch that goes crazy quickly and randomly to about 20-100% of a semitone. Because randomness is intense, it is not packed more than usual, but it is fixed as much as possible.
RAH adjusts the pitch about 25% faster than a semitone.

今まさに『MACHINE HEAD』を生み出さんとしていた第II期DEEP PURPLE絶頂の刹那。その超極上ライヴアルバムがブラッシュ・アップして登場です。
そんな本作に収められているのは2公演。「1972年2月19日ラウンドハウス公演(5曲)」をメインに「1971年10月4日ロイヤル・アルバート・ホール公演(2曲)」を追加した極上オーディエンス録音。そう、4年前に衝撃を振りまいた超名盤『DAGENHAM ROUNDHOUSE 1972』です。

50年を超える深紫史ですが、その絶頂期は極めて短かった。演奏のキレは1970年の時点で凄絶ではありましたが、その凄まじさをキープしつつ、さらに歴史に残る名曲までセットに加えた時期となると1971年後半から1972年前半にトドメを刺す。『DAGENHAM ROUNDHOUSE 1972』は、そんな極めつけの現場を極上サウンドで体験させてくれる大名盤だったのです。まずは、そんな状況をイメージするためにも、当時のスケジュールから紐解いてみましょう。

《12月6日-21日『MACHINE HEAD』制作》
《3月25日『MACHINE HEAD』発売》

これが『FIREBALL』から『MACHINE HEAD』までの歩み。本作のメインとなるラウンドハウス公演は、まさに『MACHINE HEAD』のリリース直前。「欧州#2」の8公演目にあたるコンサートでした。そして、ロイヤル・アルバート・ホール公演はさらに遡った「欧州#1」の13公演目。『MACHINE HEAD』が製作されたモントルー・セッションの約2ヶ月前というタイミングでした。
2公演とも演奏面でも創作面でもまさに絶頂だったわけですが、そんな2公演を記録した『DAGENHAM ROUNDHOUSE 1972』は4年前に初登場するや、巨大な衝撃をもって迎えられました。その要因は、もちろんクオリティ。現在でも極まれにヴィンテージ録音の新発掘があったりしますが、ここまでのサウンドは類を見ない。何しろ、「70年代にしては」の枕詞が不要なクリアさと強烈なダイレクト感。音色にはオーディエンスらしさもなくはないものの、その芯は距離感などまるでなく目の前に突きつけられ、それに伴ってディテールも超鮮明。サウンドボード級……と言いますか、当時のFM放送でもここまでの音はムリだろうという鮮やかさ。仮に2020年代現代の録音だとしても間違いなく「超極上」と紹介せずにはいられないクオリティだったのです。

思い出話だけですっかり長くなってしまいましたが、本作はそんな伝説マスターをブラッシュ・アップしたもの。そのアップグレードぶりを一言で表すなら「さらにクリア」。前回盤の『DAGENHAM ROUNDHOUSE 1972』もマスタリングを施しており、狂いまくっていた原音のピッチも最大限に修正していました。しかし、そのコンセプトは「マスターが吸い込んだ音に忠実」。伝説マスターの意匠に最大限の経緯を払い、世紀の壁を乗り越えて現代に届けてくれたサウンドを永久保存していたわけです。それに対し、本作のマスタリング・コンセプトは「バンド出音の再現」。安易になんとなく聴いた感じをカッコ良くするのではなく、1972年の絶頂DEEP PURPLEが現場で発していたであろうサウンドをスピーカーから再現するために注力したのです。
もう1点は「歪みの解消」。全体的には驚異的な安定感で録音されているのですが、フォルテッシモの瞬間はピークに歪みも発生していました。本作では、そうしたピークのビビリや歪みを可能な限り緩和。自然なカーヴでアンサンブルを楽しめるようにしたのです。その滑らかさは全曲・全体に及んでおりますが、特に分かりやすいのは「Child In Time」でしょうか。26歳のイアン・ギラン渾身のシャウトも綺麗に伸びきるのです。

そのサウンドで描かれる絶頂の第II期DEEP PURPLEは、まさに奇跡のバンド。1972年の後半にはもう馴れ合い感が出てしまうインプロヴィゼーションはフレーズ1つとってもキレッキレで、交感のスリルとイマジネーションに溢れている。そのアンサンブルで貴重な「No No No」や「Fireball」まで披露していく。その充実感は、かの歴史的大名盤『MADE IN JAPAN』さえも凌駕している……そう言い切ってしまいたい大熱演なのです。
4年前に初登場した『DAGENHAM ROUNDHOUSE 1972』は発掘されたマスターの音を大切にしつつ、音楽作品として整えたライヴアルバムでした。それに対し、本作は“極み”に挑戦した1枚です。時間と空間だけでなく、磁気テープ越しの壁さえも乗り越えて“第II期DEEP PURPLE”の存在そのものにまで肉薄する超名盤。どうぞ、永久保存プレスCDで心ゆくまで存分にご堪能ください。


●元々、過入力部分に歪成分が有るので、なるべく緩和しました。(特にChild In Timeのシャウト部分)

★Roundhouseは 半音の約20~100%までランダムに早く狂っているピッチを調整。ランダムさが激しいので通常より詰められませんが可能な限り直してます。

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

Darker Than Blue 276

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