An upgraded version of a famous recording that represents the end of the second period, "1973". The famous recording is "February 21, 1973 Birmingham performance". It is an audience album recorded on "Mark 2's last home tour". Let's start with the journey from the release of "WHO DO WE THINK WE ARE" to the performance in Japan, which caused the collapse of the second period. "Purple Portrait" released on January 13th January 16th-February 10th: Europe #1 (16 performances) February 16th-28th: UK (10 performances) ←★Here★ March 5th-20th: Europe #2 (10 performances) April 12th-June 19th: North America (42 performances) June 23rd-29th: Japan (6 performances) "Second Period DEEP PURPLE Collapse" This is the whole picture after "WHO DO WE THINK WE ARE". The Birmingham performance in this work was the fourth concert out of the last 10 UK performances. The sound source of this 1973 is quite substantial in Europe, America, and Japan, but the thinnest is the home country of the UK. This work is a live album that conveys the precious truth of Britain. As many of you may already know, this live performance was once delivered as "BIRMINGHAM 1973". In fact, what is included in this work is the same recording as "BIRMINGHAM 1973". However, that does not mean that it is a massing that has already been released. This work is a "master clone" that has appeared in recent years. It is the most venerable masterpiece that has been digitized directly from analog cassette. In fact, the fresh sound that blows out of this work is vivid enough to wake you up. Since "BIRMINGHAM 1973" was a very carefully selected young master of Gene, it is not "completely different", but it is clearly fresh. The particular difference is the hiss noise. In "BIRMINGHAM 1973," the entire album was covered with a whoosh noise (although surprisingly little considering the era), but this work does not have that. The sound of the second period of DEEP PURPLE emerges vividly in a beautifully clear and clear atmosphere. This produces an effect that goes beyond simply "no noise." The edges of the performance and the details of the recording that were hidden behind the hiss that we had not been concerned about until now are revealed one after another. To be honest, this recording is known for having some sound fluctuations and missing parts here and there, but even the details of the fluctuations are clear. That transparency can never be obtained by mastering. However, the sound source as it was excavated was out of pitch and quite fast. In this work, the raw natural sound is left intact, and only the pitch is accurately corrected. It has been finished into the only best version in the world. Of course, the sound fluctuation is just an analogy. It is just that "even this can be heard beautifully," and the most important thing is of course the performance. The fineness and freshness of this performance is what makes this album so special. I'm especially happy about Richie. His sound changes with each generation, but this "1973 sound" is exceptional and more popular than any other era. The exquisite Stratocaster sound is depicted with brilliant vividness, so it's a very exquisite sound world. On top of that, the performance is also wonderful. In 1973, you can see glimpses of work-mode performances, but on this day, the consciousness of the "last home country" is at work, and it's really wonderful. Of course, it doesn't reach the level of 1970 and 1971, when the tension is tightening up to the limit, but each person's improvisation is sharp and Ian Gillan's throat is also in great shape. With that band potential, they also perform "Mary Long". It's a live album that is truly worthy of being called "the masterpiece of 1973". It's already a precious "last home country of the second period" recording. This upgraded version is a masterpiece live album filled with sounds and performances that represent "1973" worldwide. A record that will forever preserve the "master clone" sound that cannot be achieved through simple remastering. Live at Town Hall, Birmingham, UK 21st February 1973 (UPGRADE) (79:57) 1. Intro. 2. Highway Star 3. Smoke On The Water 4. Strange Kind Of Woman 5. Mary Long 6. Keyboard Solo/Lazy 7. Drum Solo/The Mule 8. Space Truckin' 9. Black Night Ritchie Blackmore - Guitar Ian Gillan - Vocal Roger Glover - Bass Jon Lord – Keyboards Ian Paice - Drums
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