DEEP PURPLE in 1971 was at the peak of their improvisational machine. The legendary recording that became their masterpiece has been brushed up. The supreme 2CD, which polished the original reel sound with the meticulous mastering of "GRAF ZEPPELIN", is now available. This work is engraved with "April 24, 1971 Aarhus performance". It is a superb audience recording. "1971 at its peak" known only to sound source collectors. "1971" is a special season for PURPLE collectors. For general fans, it is just "the year when the fireball came out", but for maniacs who follow the live performances one by one, it is said to be "the most delicious time for improvisation". Of course, they had been doing extremely powerful improvisations since 1970 around the time of the release of "IN ROCK", but the more they went through the stage, the more they became sharper. The drawers of spontaneous phrases became richer and richer, and the tension increased. However, it did not last long. By 1972, the phrases had become more fixed, the tension was no longer created, and the call and response had become routine. On their first visit to Japan, perhaps due to the foreign enthusiasm, the band's explosive excitement was revived, resulting in a miraculous performance, but overall they were starting to loosen up. Of course, the excitement changed completely with each live performance, but the general flow was something like this. So which period was the best? The answer is "1971," and this work is their masterpiece. Let's take a bird's-eye view of the miraculous year of 1971 and check the show's position.・January 1st + 2nd: Netherlands (2 shows) {February single "Strange Kind of Woman" released} ・January 29th - March 8th: UK (21 shows) ・April 7th - June 25th; Europe #1 (29 shows) ←★Here★ {July 9th "FIREBALL" released} ・July 2nd - August 12th: North America #1 (25 shows) ・September 4th - October 11th: Europe #2 (15 shows) ・October 22nd - 24th: North America #2 (3 shows) {Tour interrupted due to Guillain's hepatitis → December "MACHINE HEAD" production} Finally realized "The ultimate form of legendary recording" This is DEEP PURPLE in 1971. The production of "Fireball" began last fall and was carried out until June in parallel with the overcrowded tour. The Aarhus performance of this work is the middle of "Europe #1", the production of which is also in the climax. Although it is difficult to say for sure because there are some vague points in the documents from that time, it was about the 12th concert. This show is famous for the superb recordings left behind, and various pre-existing groups bearing the name "DANISH YODEL" have colored the history of recordings for a long time. This work is a new masterpiece that updates the highest peak of such a historical classic sound source. The base is the original reel master unearthed by the prestigious "Kro_co", a best-of-the-best masterpiece master that has continued to reign at the top for the past 10 years, and it has been brushed up with meticulous mastering by "GRAF ZEPPELIN". As you may know if you have noticed this article, "GRAF ZEPPELIN" mastering should be called "repair" rather than "processing". From the beginning, they had no interest in appearance or the power of intimidation, and just like repairing paintings and cultural assets, they restore the damage caused by the test of time and precisely restore the "sound" at the time of recording. The method is faithful to the basics, such as correcting pitch and phase shifts (although the accuracy is extraordinary). In the case of this work, what was particularly effective was the processing of noise and sound fluctuations. The original master of "Kro_co" is at the highest level, so there is little noise, but even so, the slight crackling noise and hiss noise were carefully removed. A glossy sound was achieved throughout the entire work. And sound fluctuations. As usual, this recording is a type that recorded mono recordings on stereo tape, but over time, one channel deteriorated in places. When listening to it, it sometimes feels like one channel is shaking for a moment, but this was repaired one by one. Moreover, the repair method is also flexibly changed. Valuable sounds are not cut, but in some places they are patched with the sound of a channel in good condition, and in other places they are restored by raising the depressed sound. The "sound of 1971" is revived with the optimal solution to match the deterioration situation in each place. The sound created in this way is truly supreme. The original is so legendary that it's not "completely different!" (If you were to modify it into something else, it would be ruined), but the noiseless and lustrous beauty is definitely the best ever. The resolution of the original reel is fully utilized, and the sound from half a century ago is blown out with super reality, as if the dusty smell of the venue is drifting from the speakers. A masterpiece that has perfected the period, performance, and sound. The live performance revived with such a super realistic sound is truly at its climax. The richness and momentum of the phrases, the breathing and tension as if they were talking, and the skill and inspiration. All of these reach an unprecedented height, but they do not fall into familiar conventions. The performance ability of the 1971 performance, which turned into an improvisation machine, can be enjoyed throughout the entire film, but there is also a scene unique to the Aarhus performance at the beginning. It is "Yodel", which is also the title. It was a theme that was played several times during this period, where Ian Gillan sings a yodel, and then it avalanches into "Speed King". Although the yodel itself has a sense of something, the sense of style of "overture → charge" was also a delicious idea. This work is also the highest quality version of that precious "Yodel", but there was a problem where the power went out at the venue when it said "Now, let's go to Speed King!". The audience can't help but laugh, and the wit of Ian Paice connecting the place with a solo with only the raw drums remaining is also heard. It is also a famous scene with great value and fun. The time, the tension on the spot, and the sound are all "top". This is an absolute board that has recaptured the peak of the ultra-high quality recording that is famous in history. The best masterpiece of the improvisation corps DEEP PURPLE that should be passed down forever. Remastering Notes ★Phase correction ★Volume adjustment *No unnecessary increase in sound pressure ★Appropriate correction of occasional sound fluctuations ★Occasional crackling noise and frequent noise after "Black Night" are corrected as much as possible ★Superb audience recording of "April 24, 1971 Aarhus performance". The legendary recording's original reel master was unearthed by the prestigious "Kro_co" and polished by "GRAF ZEPPELIN" with meticulous mastering to create the ultimate form. This is the best live album to experience the "miraculous year 1971" when the improvisation machine DEEP PURPLE reached its climax, and it is also the best sound quality take of the extremely rare overture "Yodel". This is a masterpiece that has been perfected in terms of time, performance, and sound. Live at Vejlby-Risskov Hallen, Arhus, Denmark 24th April 1971 TRULY PERFECT SOUND(UPGRADE) Disc 1(50:29) 1. Intro. 2. Yodel 3. Drum Solo 4. Speed King 5. Strange Kind Of Woman 6. Into The Fire 7. Child In Time Disc 2 (62:30) 1. MC 2. Wring That Neck 3. M andrake Root 4. Black Night 5. Lucille Ian Gillan - Vocal Ritchie Blackmore - Guitar Roger Glover - Bass Jon Lord - Keyboards Ian Paice - Drums
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