Deep Purple Made in Japan: Thoughts On The Many Editions (1972-2013)

From subjectivesounds.com

I have been interested in undertaking a review of Deep Purple’s Made In Japan (The Remastered Edition) CD from 1998 for quite a while. It is a live performance that captured Deep Purple at their peak and even if you’re not a fan of the band, this is one performance that you have to listen to. It set a standard for all rock and roll bands to follow and is as unique today, as the day it was recorded.

However, in 2014 a number of new editions were released that would go on to complicate my thoughts about the performance, album, and re-issues in general. While the performance had already been re-issued numerous times, this didn’t stop Universal remixing, remastering, and re-releasing the performance once again.

Rather than a linear performance, Made In Japan was initially comprised of the best takes from three different, concurrent, performances in Japan. Logically, this should be as complicated as it gets, but that isn’t the case as there are too many editions. Let me explain:

Single CD Edition

The single CD edition features the original 1972 mix, but it has been remastered during the 2013 mastering sessions.

If you want the album that was originally released in 1972, then this is the go-to release.

2CD Deluxe Edition

The Deluxe Edition features the 2013 Kevin Shirley remix, of the original 1972 album. It also includes all encores, from all three nights on the second disc.

The 2013 remaster/remix of this album uses the original 1972 analogue multitrack masters. While the original 1972 mix, found on the single CD edition, is remastered from the 1972 analogue stereo master.

Therefore, if you want a newly mixed edition of the performance, this one will service you well. It is true to the original but I am honestly torn as to the mix I prefer. The original 1972 mix is still solid, but Kevin Shirley’s 2013 mix somewhat modernises the performance without changing it. Although, I find Shirley’s edition to be a little boomy and muddy in the low end. This is most noticeable in the song Lazy.

It is also important to note that as both the single CD and double CD have been remastered, the overall dynamic range, compared to the 1998 remastered edition, is reduced. Remarkably, the ’98 remaster maintained the dynamic range of the original ’72 release. That said, none of the 2014 releases could be considered sonically poor performers.

If you’ve never heard this performance before, this 2CD edition will be a welcome edition to your collection. Although, I feel us old-timers might be best served sticking with the original 1972 mix that we know and love. Although, when it is all said and done, it really is subjective!

High Fidelity Pure Audio (HFPA) Blu-Ray

Of course, if you want both the original 1972 mix and Kevin Shirley’s 2013 mix, you can pick up the HFPA Blu-ray Edition. However, no encores are included.

While HFPA Blu-ray is a favoured format here at Subjective Sounds, it is important to note that the dynamic range of this release is no better than the before-mentioned CD releases, hence the benefits of High Fidelity (24bit/96kHz) are trivial at best.

Given the capacity of the HFPA format, you would think that the entire three nights of recordings could be included on a single disc, along with all the encores, the 1972 mix, and Kevin Shirley’s 2013 mix. After all, The Rolling Stones Grrr… 50-song (>3 hour) epic is on a single HFPA disc and only consumes 20.02GB of the possible 50GB capacity. Yes, I acknowledge that this release is on a BD-25 disc and therefore limited to 25GB, but to my knowledge the HFPA specification does not exclude the BD-50 (50GB) option. Yes, the HFPA format didn’t last long, but as I’ve mentioned in previous posts, I still don’t understand why the music industry simply didn’t move to hybrid SACD releases for every album. Those who don’t care about the ‘ultimate’ in audio reproduction can enjoy the discs in a standard CD player, while audiophiles can use their dedicated SACD players to get the most out of the disc and their system. It was a win-win format!

The music industry is full of missed opportunities and putting low dynamic range masters onto an audiophile format is almost a guarantee of failure.

4CD Edition

This edition features the complete performances from each night in a linear manner. You also get the encores, on a separate disc, a making-of DVD, and a Japanese 7” promo. Also included is a hardcover book and a download code for the MP3 and HD files.

Let’s just say it is a pretty impressive CD collection that gives you everything, except the original 1972 mix and the 2013 Kevin Shirley remix; although from what I understand each performance, in this collection, is from the Kevin Shirley 2013 remix/mastering sessions.

All of a sudden things got awfully complicated for this completist collector!

It is clear that each edition has been purposely designed to have something that is not available on another edition. Therefore, those wanting to purchase the complete recordings of this iconic performance will need to dig deep and hide the expenditure from their significant other.

That said, let’s take a look and see how the analogue formats fit into this equation.

Double Vinyl

According to the production notes, this edition was cut at Abbey Road Studios from the original 1972 stereo analogue master. It is, however, the 2013 remastering and hence the dynamic range would be on par with the digital releases.

That said, the track listing mimics that of the original 1972 mix, so purists looking for a new copy of the original compiled performance will be pleased with this version. However, this edition includes no encore performances and therefore it is the analogue equivalent of the 2014 single CD edition.

9LP Collection

This monolithic collection should have everything, shouldn’t it? Well, not exactly!

Just like the 4CD edition, the 9LP includes all three performances in their linear 2013 mix. However, the making of DVD, original 1972 mix, Kevin Shirley 2013 mix (of the original track-listing), encore performances, and Japanese 7” promo aren’t included. From what I understand, the DVD that is included in the 4CD edition is the same as the standalone DVD that was released at the same time. It is important to note that while the DVD has the same cover art as the album releases, it is a documentary and not a live recording of the performance. A quick view at some of the feedback on Amazon, for the standalone DVD, shows that it caused significant confusion amongst fans.

If you’re interested in watching the documentary, it is available for streaming on TIDAL. It isn’t bad, but it isn’t worth owing.

The 9LP collection also includes the hardcover book and album download code with both MP3 and HD download options. That said, there have been inconsistencies reported regarding the availability of HD files in some regions, therefore you should take that into consideration prior to purchasing.

It is also important to mention this 9LP collection features a number of significant typos such as Oaska instead of Osaka and Somoke instead of Smoke. Perhaps one could forgive the misspelling of Osaka, but how could they possibly release a Deep Purple album with the misspelling of Smoke On The Water?

It doesn’t exactly generate consumer confidence, does it?

Personally, I would stay clear of this release and hope Universal have the good sense to re-issue this set with relevant corrections. Although, I wouldn’t hold my breath as Universal’s atrocious pressing of Abba’s Live At Wembley Arena (pressed and released in 2014) was never rectified. Interestingly, both this album and Deep Purple’s Made In Japan were pressed at GZ vinyl and their reputation isn’t the greatest.

Now, most normal people are probably rolling their eyes by now and truthfully I can’t blame them. The problem is, there are just too many different editions. While I have wanted to purchase one of the 2014 releases, to go with my 1998 remastered edition, the variety has been too daunting to even consider and therefore I have not made a single purchase.

For the moment, the single and double CD editions are available on TIDAL Hi-Fi, hence I feel no need to pick those up. Plus, besides the 2013 remix on the double CD, they mimic the 1998 remastered edition exactly. It is important to note that the full linear concert performances, as found on the 4CD and 9 vinyl box set are not replicated on any digital music stores or streaming services. Subsequently, if you’re interested in the full performances, you will need to purchase the physical releases. That isn’t necessarily a bad thing as it offers fans a value-added proposition; it is just a shame that the options are so convoluted.

…and with that, I have decided that the best approach for me would be to ignore my completist mind and simply pick up the HFPA Blu-ray release as it contains the original tracking and mix of 1972 stereo master, as well as the 2013 mix. Yes, I remember my earlier comments regarding the reduced dynamic range, but every time I look at my HFPA Blu-ray collection, this album is one that is sorely missed.

Deep Purple: Why I love Made In Japan, by Yngwie Malmsteen (2021)

From loudersound.com

Swedish guitar god Yngwie Malmsteen on Deep Purple’s Made In Japan, the album that affected him “in Biblical proportions… It had so much crazy energy, man”

I was just nine or 10 years old when my elder brother brought home Made In Japan. I’d already heard Deep Purple’s In Rock and Fireball, both of which had affected me in Biblical proportions. For some unbelievable reason I wasn’t familiar with Machine Head, the studio album that so much of Made In Japan is based on. 

I went out and got Machine Head because I had loved Made In Japan so much, but as a naïve little kid from Sweden I couldn’t understand why Lazy and Space Truckin’ had suddenly become so short. 

No other live album had such a huge impact on me. Made In Japan had so much crazy energy, man. Back then, without the internet, MP3 players and thousands of radio stations to choose from, hearing a new record for the first time was such a religious experience. I actually wore out three or four copies of the vinyl edition. 

This is how much it absorbed me. The album is mixed with the guitar panned hard left and the Hammond organ on the right. I often listened to the album with Ritchie Blackmore’s solos turned down, replacing them with my own and recording them onto this cassette player of my uncle’s. 

I took the tapes into school saying: ‘Listen to this.’ My friends would go: ‘Yeah, Made In Japan. So what?’ But it was me playing the guitar! I had everything down so faithfully; I even knew when Blackmore touched his pick-up switch, so I did the same thing… I could’ve fooled anybody.

I love the actual sound of Made In Japan. It was produced by the whole band but mixed by Roger Glover and Ian Paice. Those two did such a great job. You’d never believe it was almost 35 years old. In fact the only criticism I could make is the sleeve artwork – I’d have died for more of those photographs. 

Later on I acquired recordings of all three gigs that were recorded [August 15-17, 1972, in Osaka and Tokyo], and it made me realise they’d really picked the right takes. Some of the others were out of tune or a little iffy. In a way it slightly detracted from the magic. 

Sadly I never saw the Mk II line-up of Deep Purple until they regrouped for the Perfect Strangers album. But my very first concert was Rainbow on their Rising tour, at the age of 12. And I’ve since hung out with Ritchie Blackmore, Ian Paice and Roger Glover. I also got up on stage with Ian Gillan in Stockholm in 1990 – the footage is on YouTube. 

But even now, when I put on Made In Japan in my car I still go: ‘Fuck! This is an incredible album.’ It really is amazing.

Deep Purple – Made In Japan (1972)

From progarchives.com

Review by ZowieZiggy

The mother of all live albums ! (on par with “Live” from Uriah Heep, “Slade Alive!”, “Rock’n’Roll Animal” from Lou Reed, “Genesis Live” and “YesSongs” IMO). I saw the Purple performed this tour in Brussels (March 20, 1973 – I was forteen) in a packed Forest National and it is quite a souvenir. At that time, I was listening to MIJ again and again. I had even taped it so that I could go out and walk carrying my cassette recorder to be able to listen to MIJ away from home (kind a precursory version for a walkman). I knew already by heart the seven songs of this incredible live effort.

“Highway Star” was their classic opener in those days (they will re-use it later on again as such). If I would be critical and honest, I would say that two songs are better in their studio versions “Child” and “Space”. Two are on par “Highway” and “The Mule”. What is incredible here is the way the band copes together. The extreme complicity between Gillan and Blackmore at the time is enormous on stage (only to be equalled / surpassed with the Page / Plant one). The way Ian responds to Ritchie in “Strange Kind of Woman” is superb and will be a Purple standard. This version is superior to the studio one. “Smoke on the Water” is another song that surpasses the studio work. It will make this average song (it had never been one of my fave on “Machine Head”) an anthem for millions of fans and for more than three decades to come (it is still played during their live sets in 2006). This version of “The Mule” is gorgeous. It has little to do with the original and brings Ian Paice on the front end. He supplies a fantastic drum solo which definitely belongs to the era. It is said that during some live renditions of “Fireball” (the track) he was the fastest drummer in the world. He should also be considered as one of the top ten drummer of all time.

Each member of the band (except Roger) will produce an extensive solo part while the others will take a break. this might sound boring, but it was the trademark of live concert in those times.

I never understood why “Space Truckin” should be extended to almost 20 minutes but anyway it fits within the ensemble and closes the first release of Made In Japan. On the 25th anniversary edition, in 1998 some bonus tracks will be added. Each of them is an encore : “Lucille” from the Osaka concert on August 16th, “Black Night” and “Speed King” from the Tokyo concert on August 17th (the latter was previously unreleased).

To cash in, their record company released a triple album called “Live In Japan” which represents almost the entire three mythical Japanese concerts. I say almost because to get it truely completed, the fan will need to get the fabulous six CD set “Listen, Learn, Read On (not yet mentioned on this site) to get the sole lacking track of those great moments : The Osaka encore “Black Night” from August 16th. This makes it quite expensive to get the whole stuff, doesn’t it ? Made In Japan will reach Nr. 6 in the US and 16 in the UK charts.

Although the sound is not always great and that the Purple will release a double live album called “In Concert – BBC” in 1980 but recorded in March 1972 for its “Machine Head” part which is IMO better than MIJ I will rate this album five stars.

Review by Easy Livin

Often cited as one of the greatest live albums ever released, “Made in Japan” is indeed a worthy record of a band at its peak. Recorded in 1972, mainly in Osaka but with a couple of songs from the Tokyo gig the same week, the album fits in the Deep Purple time line just after “Machine head”. It is no surprise then that four of the seven tracks on that album are featured, including a 20 minute version of “Space truckin'”. The rest of the set list is made up of the sublime “Child in time” from “In rock”, “Strange kind of woman” (A non album single) and the “The mule” from “Fireball”.

The double LP sold for about the same price as a single album at the time, making it an attractive proposition for those looking to investigate the music of this rapidly ascending band.

It is perhaps astonishing now to think that the prime motive behind the album was the record company’s wish to fight back against the bootleggers, the band initially being reticent about the idea. In one of a number of parallels with Uriah Heep’s subsequent “Live ’73” several gigs were recorded, but fate dictated that for technical reasons by and large only one of the recordings was considered entirely fit for purpose, the Budokan tapes being overlooked altogether.

The overriding plus from this album is the incredible sound quality. The band assert that no overdubs have ever been done to the original recordings, the remastered version simply using modern technology to further enhance the original tapes.

Most of the renditions here are faithful to the studio originals, whilst featuring variations in the solos and of course an obligatory drum solo (on “The mule”). “Strange kind of woman” becomes a 10 minute affair, due in part to call and response section between Blackmore and Gillan, and the band allow themselves to indulge in a jam on “Space truckin'”.

In all, a fine live album indeed, which has over time become the yardstick by which other such releases are judged.

The remastered CD puts the four sides of the original LP on a single disc. A second disc of CD single length is added containing 3 songs played as encores during the tour. These include the single “Black night” plus “Speed king” from “In rock”. Both these performances are Tokyo recordings, while the third encore, a cover of the Little Richard (with Albert Collins) song “Lucille”, was only performed in Osaka. The sleeve of the remastered CD is different to the original European release, the front picture of the band being surrounded by a black (it couldn’t be more black!) edging.

Review by Tarcisio Moura

One of the greatest live albums ever. If you’re wondering where prog metal’s roots lay, this may be one of the starting points, and maybe the most important of them. For it showed that heavy music and prog rock were not incompatible at all. Even the most radical proghead at the time (and boy, did I know some!) could not deny those guys were absolute masters of their instruments and at least two cases (Ritchie Blackmore and Jon Lord), truly genius. They not only play their classics in great versions, but they proved they could jam, improvise and create like few others during live shows.

Of course those displays of explicid virtuosism would soon become common place (even if many of artists did not have the talent nor the technique to pull that off). But at the time it caused quite a stir, since in the minds of many heavy music was something done by below average musicians, who would try to hide their lack of musical skills under a wall of noise. Deep Purple changed all that. Yes, they were LOUD. heavy and noisy, but they were also outstanding musicians, with great creativity and had vast musical background, able to play classical and jazz. Their chemistry was something quite unique and Deep Purple MKII was more than the sum of its parts.

There was also a great singer in that, under the moniker of Ian Gillan. Wow, the man had a great voice to match the incredible instrumentation around him. He was one of the first to show he could not only scream but also sing very well (Robert Plant never got even close to him live). And they were on their peak at the time. Even the obligatory drum solo is interesting and not just a self indulgent exercise like many (even if I do not see that as a highlight here).

Made In Japan is made only of classic stuff. It was very well recorded for the time and the new CD version has 3 extra tracks (I guess it was the encore part): Black Night, Speed King and a powerhouse version of Lucille. All the new additions are on par with the original tracks. Heavy music and prog were together. Things would never be the same again. Simply essential.