Accept / Monsters Of Rock Karlsruhe 1984 / 1CDR

Accept / Monsters Of Rock Karlsruhe 1984 / 1CDR / Shades

Wildparkstadion, Karlsruhe, Germany 1st September 1984

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ACCEPT, which is also very popular with the press masterpiece “MONSTERS OF ROCK 1984 (Zodiac 436)” that conveys all seats. Introducing the finest brand that is also the sister edition.
The engraving on this work is “September 1, 1984 Karlsruhe performance”. It is a superb audience recording recorded in the West Germany edition of “MONSTERS OF ROCK Tour”, which is different from the press masterpiece “MONSTERS OF ROCK 1984”. Recently, not only ACCEPT but also MOTLEY CRUE, Ozzy Osbourne, etc. have been producing MOR masterpieces in 1984, but ACCEPT did not participate in all the dates. Let’s look back on the outline of “MOR Tour” in order to understand the situation in that area.

・ August 18: Donington ← * MONSTERS OF ROCK 1984
× August 25: Stockholm (3 groups only: ACCEPT not participating)
× August 31: Winterthur (3 groups only: ACCEPT not participated)
・ September 1: Karlsrue ← ★ This work ★
・ September 2: Nuremberg
× September 5: Rome (2 groups only: ACCEPT not participating)
× September 7: Turin (2 groups only: ACCEPT not participating)

Above, all 7 performances. Only AC / DC and MOTLEY CRUE of the big bird participated in the whole schedule, and in Sweden and Switzerland, 3 groups including VAN HALEN. Only two performances in Donnington, England and West Germany were held in full 7 groups (Switzerland and Italy do not count as MOR). Of course, ACCEPT participated in only three performances, and the Karlsruhe performance of this work is the second performance after the sacred place Donington. It was the most “home” site, about three and a half hours drive from ACCEPT’s hometown of Solingen.
This work recorded at such a show is a superb item with “super” attached this time as well. I’m sure many of you have come to this point, but it’s the latest in the “G.Mann” collection, which is the same as the popular press board “MONSTERS OF ROCK 1984” the other day. From “MONSTERS OF ROCK 1984”, it transcended the standard FM sound source and was regarded as the best masterpiece of G.Mann recording, but I was surprised because this work is not defeated either. The clearness with zero reverberation is tremendous because it is outdoors, and the sound output from the on-site PA is recorded exactly. The details are very beautiful, the core is thick like a rough rope, and the feeling of close contact with no sense of distance is strong. If I dare to mention the difference from “MONSTERS OF ROCK 1984”, this work gives up about half a step because of the goodness of omission, but on the contrary, this work is superior in terms of weight. In any case, this time as well, it is a famous recording that can be proudly declared as “sound board” and “superb”.
The super powerful and tight sound is drawn with a great enthusiasm because it is local. The set is the same as the Donington edition, but let’s rearrange it here just in case.

・ Breaker: Son Of A Bitch
・ Restless & Wild: Fast As A Shark / Restless & Wild / Princess Of The Dawn
・ Balls to the Wall: Love Child / Turn Me On / London Leatherboys / Balls To The Wall

… And it looks like this. About 50 minutes, half of which is the latest masterpiece “BALLS TO THE WALL”. The scale of the ensemble has grown significantly just because he toured the United States, which is the biggest in his career, three months ago, and the well-trained sense of consistency is tremendous. From the month after this work, we will start producing that “METAL HEART”, and with that steel band potential, you can enjoy the essence of “BREAKER”, “RESTLESS AND WILD”, and “BALLS TO THE WALL”.
Furthermore, the feeling of triumphant return is exquisite because this work is local. Glorias with a great on-site mood as well as the dignified feeling of the performance itself. With “Princess Of The Dawn” at the top, the big chorus of German guys that happens in various places is huge. And Udo Dirkschneider’s MC. He speaks German only to the locals. Although I can’t understand the contents by all means, the rugged pronunciation and the reaction of the audience are harsh, and the enthusiasm to welcome the local hero who returned from the world invasion is wonderful. It is a live album that radiates a feeling of exhilaration (richly) that is different from the Donnington version that challenges the home of England.
It is a sister edition by the same recorder as the Donington edition “MONSTERS OF ROCK 1984” which became a rare masterpiece. The West Germany performance was not permanently preserved due to the lack of an FM soundboard (which is an introductory insurance), but the quality is definitely press grade. For those who were shocked by Donington, “This is also amazing,” and for those who are hesitant about the press board, “Try this.” This is West German steel music. Its supreme. Please fully enjoy the new excavation live album.

★ Recording of a superb audience of “September 1, 1984 Karlsruhe Performance”. A West German version by the same recorder as the press masterpiece “MONSTERS OF ROCK 1984 (Zodiac 436)”, this time also the finest with “super”. The clearness with zero echo is tremendous because it is outdoors, the details are clear to the super beautiful details, the thick core like a rough rope, and the feeling of close contact with no sense of distance is strong. The show is a concentration of the best of “BREAKER”-“BALLS TO THE WALL” in about 50 minutes, and the large chorus that welcomes local heroes and the German MC are also in the mood.

全席を伝えるプレス名盤『MONSTERS OF ROCK 1984（Zodiac 436）』も大好評を博しているACCEPT。その姉妹編ともなる極上の銘品が登場です。
そんな本作に刻まれているのは「1984年９月１日カールスルーエ公演」。プレス名盤『MONSTERS OF ROCK 1984』とは異なる、“MONSTERS OF ROCK Tour”の西ドイツ編で記録された極上オーディエンス録音です。最近はACCEPTだけでなく、MOTLEY CRUEやオジー・オズボーン等でも1984年MORの名作が連発していますが、ACCEPTは全日程に参加したわけではありません。その辺の状況を把握する意味でも、“MOR Tour”の概要から振り返ってみましょう。

・８月18日：ドニントン　←※MONSTERS OF ROCK 1984
×８月25日：ストックホルム（３組のみ：ACCEPT不参加）
×８月31日：ヴィンタートゥール（３組のみ：ACCEPT不参加）
・９月１日：カールスルーエ　←★本作★
・９月２日：ニュルンベルク
×９月５日：ローマ（２組のみ：ACCEPT不参加）
×９月７日：トリノ（２組のみ：ACCEPT不参加）

以上、全７公演。全日程に参加したのは大トリのAC/DCとMOTLEY CRUEだけで、スウェーデンやスイスではVAN HALENも加えた３組。７組フルで開催されたのは英国ドニントンと西ドイツ２公演だけでした（スイスやイタリアはMORとしてカウントしない資料もあります）。もちろん、ACCEPTが参加したのも３公演だけで、本作のカールスルーエ公演は聖地ドニントンに次ぐ２公演目。ACCEPTの故郷ゾーリンゲンから車で約３時間半という、最も「ホーム」な現場でした。
そんなショウで記録された本作は、今回も「超」の付く極上品。もうピンと来られている方も多いと思いますが、先日大好評を賜ったプレス盤『MONSTERS OF ROCK 1984』と同じ「G.Mann」コレクションの最新弾なのです。『MONSTERS OF ROCK 1984』からして第定番FM音源を超越し、G.Mann録音の最高傑作とも目されていたわけですが、本作も負けていないからびっくり。野外だからこその反響ゼロなクリアさが凄まじく、現場ＰＡが吐きだす出音をそっくり収録。超美細部まで克明なディテールも、荒縄の如き極太な芯も、距離感皆無なド密着感も強烈です。あえて『MONSTERS OF ROCK 1984』との違いを挙げるなら本作の方が抜けの良さで半歩ほど譲るのですが、逆に重量感では本作の方が勝っている。いずれにせよ、今回も堂々と「まるでサウンドボード」「超極上」と断言できる名録音なのです。
その超パワフル＆タイト・サウンドで描かれるのは、地元だからこその大熱演。セットはドニントン編と同じですが、念のためここでも整理し直しておきましょう。

・ブレイカー：Son Of A Bitch
・レストレス・アンド・ワイルド：Fast As A Shark／Restless & Wild／Princess Of The Dawn
・ボールズ・トゥ・ザ・ウォール：Love Child／Turn Me On／London Leatherboys／Balls To The Wall

……と、このようになっています。最新作でもある名作『BALLS TO THE WALL』が半分を占める約50分間。３ヶ月前にはキャリア最大の全米ツアーを行っていただけにアンサンブルのスケールは大きく成長し、鍛え抜かれた整合感も凄まじい。本作の翌月からあの『METAL HEART』制作に入るわけですが、あの鋼鉄のバンド・ポテンシャルで『BREAKER』『RESTLESS AND WILD』『BALLS TO THE WALL』の粋が味わえるのです。
さらに、本作は地元だからこその凱旋感が絶品。演奏自体の威風堂々感もさることながら現場ムードがえらくグロリアス。「Princess Of The Dawn」を筆頭に、各所で巻き起こるドイツ野郎共の大合唱がとにかく巨大。そして、ウド・ダークシュナイダーのMC。地元だけにドイツ語で語っているのです。寡聞にして内容までは理解できないものの、そのゴツゴツした発音と観客の反応が漢くさく、世界侵攻から帰ってきた地元の英雄を迎える熱気が素晴らしい。本場イギリスに挑むドニントン篇とはまたひと味違った高揚感を（濃厚に）発散するライヴアルバムなのです。
希代の名作となったドニントン篇『MONSTERS OF ROCK 1984』と同録音家による姉妹編です。西ドイツ公演は（入門用の保険となる）FMサウンドボードが存在しないために永久保存は叶いませんでしたが、クオリティは間違いなくプレス級。ドニントン篇に衝撃を受けた方には「これも凄いですよ」と、プレス盤に二の足を踏んでいる方には「これでお試しを」とお伝えしたい１枚。これぞ西ドイツ産鋼鉄音楽。その至高。どうぞ、新発掘ライヴアルバムで存分にご堪能ください。

★「1984年９月１日カールスルーエ公演」の超絶級オーディエンス録音。プレス名盤『MONSTERS OF ROCK 1984（Zodiac 436）』と同じ録音家による西ドイツ版で、今回も「超」の付く極上品。野外だからこその反響ゼロなクリアさが凄まじく、超美細部まで克明なディテールも、荒縄の如き極太な芯も、距離感皆無なド密着感も強烈です。ショウは『BREAKER』〜『BALLS TO THE WALL』の粋を約50分間に濃縮したもので、地元の英雄を歓待する大合唱やドイツ語MCもムード満点です。

(48:21)
1. Intro
2. Fast As A Shark
3. Restless And Wild
4. Lovechild
5. Turn Me On
6. Princess Of The Dawn
7. Wolf’s Guitar Solo
8. Son Of A Bitch
9. London Leatherboys
10. Balls To The Wall

Udo Dirkschneider – vocals
Herman Frank – guitar
Wolf Hoffmann – guitar
Peter Baltes – bass
Stefan Kaufmann -drums

Shades 1310