A new excavated live album from the golden year of 1972 is here. In the history of DEEP PURPLE, which is about to reach half a century, 1972 is special. Starting with the super-famous album "MADE IN JAPAN", "MACHINE HEAD" and "WHO DO WE THINK WE ARE", it was a year in which the brilliance of their talent reached its peak. This work is an audience album that contains the "September 29, 1972 Leeds performance", which is the latter half of 1972. Speaking of "the mother country of 1972", the recently released "RAINBOW 1972 (Darker Than Blue 229-232)" is also fresh in my memory. However, while that was a July performance, this work is September. Don't take this for "only two months". In between, the legendary first visit to Japan is sandwiched, and the meaning is completely different. It's hard to understand if I explain it in a sentence, so first let's take a look at the schedule. March 25th "MACHINE HEAD" release March 17th-31st: North America #1 (11 performances) March 31st Richie collapses with hepatitis April 6th: Quebec performance (substitute Randy California) May 25th-June 6th: North America #2 (9 performances) June 27th-July 1st: Europe #1 (3 performances) "RAINBOW 1972" July 6th-18th: North America #3 (11 performances) July "Purple Portrait" basic recording August 15th-17th: Legendary first visit to Japan (3 performances) August 22nd-September 3rd: North America #4 (10 performances) September 13th-October 16th: Europe #2 (19 performances) ←★Here★《October: Completion of “Purple Portrait”》・November 6th-December 16th: North America #5 (25 performances) (The number of performances is uncertain because the information has not been confirmed.) This is the journey from “MACHINE HEAD” to “Purple Portrait”. They also toured in January and February, which shows how dense the year was. “RAINBOW 1972” was “after Richie’s return from hepatitis → before the performance in Japan”, but this work is “after the performance in Japan → before the completion of Purple Portrait”. In fact, this is the huge turning point. In “North America #4”, Ian Gillan announced his departure, and agreed with management on the condition that he would “remain until the end of the tour”. Moreover, the members were informed of his intention to leave, and it was a time when human relationships were at their worst. This “Europe #2” was only known for the Bristol performance on September 16th, but this time the second Leeds performance has appeared. Moreover, the Bristol recording was an incomplete recording that ended halfway through, but this work is a live album where you can enjoy "Space Truckin'" for about 19 minutes (it's a shame that it doesn't reach the end!). This precious new excavation is a great quality audience sound. It's not the type that you would call "like a sound board", but it's not just "thankful to be able to listen". Although the venue acoustics are absorbed, the bass, which tends to be a weakness of audience recordings, is also strong, and above all, Richie's guitar is recorded vividly. Every note that is faintly cut on the audience's clapping is transmitted beautifully, and if the magician's fingertips dance, it will reach straight with a bold tone that even dominates the applause. Gillan's singing voice is as sharp as Richie's. The shouts that exchange phrases with Richie are beautiful and smooth, and they also roar sharply as if they are cutting through the venue. The show depicted with such a sound has a unique mood with a strange atmosphere. Of course, the audience at the venue will not be made aware of the discord, but we who have been searching for sound sources for centuries can sense the atmosphere that there is something in their stomach. Even in the scenes where phrases intersect, rather than bursting with emotion, they seem to be pretending to be calm and doing a good job, but that doesn't mean they are in a boring "work mode" either. For example, after playing "Child In Time" with great force, Jon Lord plays a comical little song for the audience who are calling out "Strange Kind Of Woman". It feels like he is in a good mood and is in high spirits, but also like he is playing around with irritation. Furthermore, the exchange between the guitar and vocals in "Strange Kind Of Woman" makes us nervous, knowing the situation. Richie's fingertips slide smoothly, and Gillan's voice has a youthful power that is strangely thrilling. The newly appeared "After MADE IN JAPAN". With the finishing touches still to be made on their new album, "Portrait in Purple," this "sound witness" bears 100% testimony to the turning point when the countdown to collapse began. A rare and thrilling live album. Live at Town Hall, Leeds, UK 29th September 1972 Disc 1 (44:23) 1. Intro. 2. Highway Star 3. Smoke On The Water 4. Child In Time 5. Strange Kind Of Woman Disc 2 (38:02) 1. MC 2. Lazy 3. Drum Solo 4. Mule 5. Space Truckin' Ritchie Blackmore - Guitar Ian Gillan - Vocal Roger Glover - Bass Jon Lord – Keyboards Ian Paice - Drums
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