Rory Gallagher / Long Beach Arena 1973 / 1CDR

Rory Gallagher / Long Beach Arena 1973 / 1CDR / Uxbridge
Long Beach Arena, Long Beach, CA, USA 15th April 1973

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Rory Gallagher in 1973 has entered a golden age with Lou Martin and Rod Diaz. Introducing a shocking new excavation master that conveys the scene.
This work was recorded at “April 15, 1973 Long Beach Performance”. It is the best audience recording. Some people will come to us on this date and “new excavation”. This week, DEEP PURPLE’s new excavation live album “LONG BEACH ARENA 1973 (Darker Than Blue 272/273)” will be permanently preserved, but this work is the Rory edition that served as the undercard at the same venue on the same day. However, this work is not a bonus of DEEP PURPLE, it is a live album that is more than enough attractive by itself. First of all, let’s confirm the position of the show from Rory’s own schedule.

・ January 12-February 17: Europe # 1a (22 performances)
“February 18th” BLUEPRINT “released”
・ February 18-March 17: Europe # 1b (19 performances)
・ March 19th-May 30th: North America # 1 (59 performances) ← ★ Coco ★
・ June 11-August 24: Europe # 2 (5 performances)
・ September 3-October 18: North America # 2 (31 performances)
・ October 23-November 9: Europe # 3a (14 performances)
“November 11” TATTOO “released”
・ November 18-December 31: Europe # 3b (30 performances)

This is Rory Gallagher in 1973. Two masterpieces “BLUEPRINT” and “TATTOO” were released in a row this year, but the long beach performance of this work was a tour that took place in the meantime. It was the 24th performance of “North America # 1”. It may seem normal to say that this is all, but if you look closely at the above schedule, you can see that it was not normal. After all, “North America # 1” has 59 performances in 73 days. On average, this was a pace of 5.7 performances per week, and it was an overcrowded schedule as if it were a business of a Moretz office worker. Moreover, this was also the largest and largest North American tour in Rory’s life. It is a record of an era that hit the United States with the spirit of “I’m going to play!”
This work recorded at such a show is the same as the DEEP PURPLE edition, which has been permanently preserved … Actually, the DEEP PURPLE edition was a generation unknown master of the “Krw_co” collection, but this work is a reel master by that “JEMS”. The two prestigious ones are collaborating on excavation, and probably both are similar generations by the same recorder, but it is this work that is more surely master quality. In fact, the sound of this work is superb. The DEEP PURPLE edition was also a direct sound like a sound board, but this work is close enough to be intense, probably because it was a stage with a small audience at the undercard. Rory’s guitar, singing voice, and sense of distance are not fine, and they are ringing right in front of me. The number of people has increased to four, including the keyboard, but the clarity that does not mix even if each note reverberates violently is also tremendous. I missed the permanent preservation press because of the curly sound in some places, but the basic best is that the makurakotoba of “for the 70’s” is unnecessary. Even if it is a modern recording, it is a ridiculous recording that can be praised as “like a sound board!”
Moreover, this work brushes up such transcendental recording with meticulous mastering. As a matter of fact, the original sound released on the net was transferred, and if the pitch was significantly out of order, distortion was seen as a whole. This work carefully treats such areas one by one. As expected, there is no way to fix the curl sound, but it has achieved a perfection that can be fully immersed as a musical work.
The show drawn with such a shocking sound is also ridiculously rich. It’s a rich blues rock with an early solo career packed in about 50 minutes. As mentioned above, this day is a short set because it is the undercard of DEEP PURPLE (FLEETWOOD MAC was also the undercard on that day), but that is why the set and the enthusiastic performance are special. From the solo debut work to the latest work “BLUEPRINT” at that time, we selected representative songs one by one, and sandwiched with “Messin’With The Kid” and “Bullfrog Blues” that called for success in “LIVE IN EUROPE”. It’s so rich that I can’t narrow it down anymore.
And performance. As mentioned above, I was enthusiastic about conquering the United States, but I didn’t have time to get tired of the short set. The heat that hits the energy of the full show blows out on both the guitar and vocals, and it runs for about 50 minutes while sprinting. The members are the same four as “IRISH TOUR ’74”, but the amount of heat blown out is more scorching. You can experience such a stage on-site with superb sound.

Rory Gallagher, one of the Hans playing the scorching blues rock. This is a live album that vacuum-packed “Spring 1973”, which had the greatest ambition and passion in his career. Some people may say, “Because it’s the undercard of DEEP PURPLE,” but that’s not the case. No matter how big the world is and how long rock history is, it’s hard to come across such a hot blues rock live.
Although there are several curl sounds that cannot be handled by mastering, it is still a masterpiece that can only be called a cultural heritage. Please get drunk with the rich blues to your heart’s content.

そんな本作が記録されたのは「1973年4月15日ロングビーチ公演」。その極上オーディエンス録音です。この日付と「新発掘」でピンと来る方もいらっしゃるでしょう。今週はDEEP PURPLEの新発掘ライヴアルバム『LONG BEACH ARENA 1973(Darker Than Blue 272/273)』が永久保存となりますが、本作は同じ日、同じ会場で前座を務めたロリー編なのです。とは言え、本作はDEEP PURPLEのおまけではなく、単独でも十分すぎるほど魅力的なライヴアルバム。まずは、ロリー自身のスケジュールからショウのポジションを確かめておきましょう。


そんなショウで録音された本作は、永久保存を遂げたDEEP PURPLE編と同じく……とも言い切れない。実のところ、DEEP PURPLE編は「Krw_co」コレクションのジェネ不明マスターだったのですが、本作はかの「JEMS」によるリール・マスター。2つの名門は協働で発掘にあたっていますし、恐らくは2つとも同じ録音者による同じようなジェネと思われますが、より確実にマスター・クオリティなのは本作の方なのです。実際、本作のサウンドは極上。DEEP PURPLE編もサウンドボード的なダイレクト・サウンドでしたが、本作は前座で観客が少ない段階だったのか、強烈なほど近い。ロリーのギターも歌声も距離感など微塵もなく、まさに目の前で鳴っている。キーボードも入って4人編成に増えているわけですが、その1音1音が苛烈に鳴り響いても混じり合わないクリアさも絶大。ところどころでキュル音が入るために永久保存プレスは逃しましたが、基本の極上ぶりは「70年代にしては」の枕詞も不要。仮に現代録音だったとしても、堂々と「まるでサウンドボード!」と絶賛できるとんでもない名録音なのです。
そんな衝撃サウンドで描かれるショウがまた、とんでもなく濃ゆい。初期ソロキャリアを約50分にギュウ詰めした濃厚極まるブルースロックなのです。前述のように、この日はDEEP PURPLEの前座(当日はさらにFLEETWOOD MACも前座を務めていました)なのでショート・セットですが、それだからこそセットも熱演ぶりも特濃。ソロデビュー作から当時の最新作『BLUEPRINT』までの3枚から1曲ずつ代表曲をセレクトし、さらに『LIVE IN EUROPE』で成功を呼び込んだ「Messin’ With The Kid」「Bullfrog Blues」でサンドイッチ。もうこれ以上は絞り込めないというほどの濃厚ぶりなのです。
そして、演奏。これまた前述したように全米制覇の意欲に燃えたぎっていたわけですが、さらにショート・セットだけに疲れるヒマもない。ギターもヴォーカルもフルショウ分のエネルギーを叩きつけるような熱さが吹き出し、全力疾走のまま約50分間を駆け抜ける。メンバーは『IRISH TOUR ’74』と同じ4人ですが、吹き出す熱量はもっと灼熱。そんなステージを超極上サウンドで現場体験できてしまうのです。

灼熱のブルースロックを奏でる漢の中の漢、ロリー・ギャラガー。そんな彼のキャリアでも野心と情熱が最大に燃え上がっていた“1973年の春”を真空パックしたライヴアルバムです。「DEEP PURPLEの前座だから」と手にする方もらっしゃるかも知れませんが、とてもそれどころの話じゃない。世界がいかに広く、ロック史がいかに長かろうとも、これほどまでに熱いブルースロック・ライヴにそうそう出逢えるものではありません。

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

Uxbridge 1199

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