Aerosmith / Osaka 2002 1st Night / 2CD

Aerosmith / Osaka 2002 1st Night / 2CD / Zodiac
Translated Text:
Live at Osaka Dome, Osaka, Japan 25th January 2002.

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The 4 major dome tours in 2002 with the “JUST PUSH PLAY” in mind. A masterpiece of a live album that conveys the truth is out.
It is contained in this work “January 25, 2002: Osaka dome performance”. I came to Japan this year twice, in January and June, but this one is in January. First of all, let’s check from the whole of the performance in Japan in 2002.

· January 25: Osaka Dome 【this work】
· January 27th: Osaka Dome
· January 29: Fukuoka Dome
· January 31: Nagoya Dome
· February 2: Tokyo Dome
· February 3: Tokyo Dome
“Four months later”
· June 27: Tokyo Stadium

In this way, the Osaka performance of this work was also the first day of “JUST PUSH PLAY JAPAN TOUR 2002”. Such a work is such a wonderful audience sound. If you say audience recording of a huge dome, it may be imagined a bokeous sound in Boi Bowa, but this work is true reverse. Each musical instrument delicately refined detailed details clearly, and it is so vivid that the dome is unnoticed unless told. Although the difference of preference sound is great, the work is a vivid recording which makes me think that “Some people may be too sharp?”
It was a familiar person in our shop that made the recording which roughly dome away (Audience Noise is not dome) recording. It is a legend that is a famous recording man who wielded a profound career in Osaka from the 1990s to the beginning of the 2000s, and is a series of gems that has only to call “Osaka’s Takumi”. Their ability is said to be a lineup so far. It is easy to enumerate, and YNGWIE MALMSTEEN’s “OSAKA 1998 (Zodiac 182)” of ACK / DC “OSAKA 1998 (Zodiac 233)” to RAINBOW “OSAKA 1995 1ST NIGHT (Black Box 006)” and SYKES “OSAKA 1998 2002 (Zodiac 234) “………. Recently BON JOVI’s “OSAKA 2003 1ST NIGHT (Zodiac 240)” also received great popularity. This work is the latest bullet of the artist’s collection, and among his collections, it is a clear recording with a particularly edge.
It is drawn with that sound that Yokozuna sumo wrestling for the first time in the “monster band” of contemporary. In front of “Big Ten Inch Record”, Steven Tyler asks “New AEROSMITH? Old AEROMITH?”, But the axis of the set is golden ’70s. The blues “Stop Messin ‘Around” that will be included in the next album “HONKIN’ ON BOBO” will also be shown, but the good old rock ‘n’ roll is pleasant enough to beat it pittlessly, The rate of “will rise.
However, it is not classical only. I’m also showing off plenty of hits from the new “JUST PUSH PLAY” and GEFFEN era, and I can also listen to “I Do not Want To Miss A Thing”. From this tour official record “ROCKIN ‘THE JOINT” has also been released, but there is not much listening to songs that can not be heard … … it is hardly covered. In fact, 14 of 24 songs are repertoires different from “ROCKIN ‘THE JOINT”. Among such circumstances are the new songs “Just Push Play”, “Light Inside” and “Drop Dead Gorgeous” at the time. These three songs are played only on tours, and in particular the last two of the latter two songs became Japan. It is now a rare repertoire to memorize nostalgia.

In retrospect, AEROSMITH was the only “monster” at the time. Speaking of 2002, it was memorable even though GUNS N ‘ROSES who became only Axel came to Japan for a long time, but it was a shock as there was no other big band in the other. MOTLEY CRUE is silenced after the stagnation, VAN HALEN is a closed store leave situation. In such circumstances, we flauntted the original members and kept boiling the 4 major domes, but there was no other place with AEROSMITH on.
Show that shows the dignity, the immovable big thing for the first time. It is a masterpiece live album that shows plenty of such truth with 100% sound of this real life. The real pleasure of a big rock that will not decay forever, please enjoy yourself.
『JUST PUSH PLAY』を引っさげて行われた2002年の4大ドーム・ツアー。その真実を伝えるライヴアルバムの傑作が登場です。

・1月25日:大阪ドーム 【本作】

このように、本作の大阪公演は“JUST PUSH PLAY JAPAN TOUR 2002”の初日でもありました。そんな本作は、実に素晴らしいオーディエンス・サウンド。巨大なドームのオーディエンス録音というと、ボワボワにボケたサウンドをイメージされるかも知れませんが、本作は真逆。各楽器が細やかなディテールも鮮明に真っ直ぐ届き、言われなければドームとは気づかないほど鮮やか。客録サウンドは好みの差が大きいものですが、本作は「人によっては鋭すぎるかも?」と思ってしまうほどに鮮明な録音なのです。
おおよそドーム離れした(オーディエンス・ノイズもドームっぽくない)録音をモノにしたのは、当店ではお馴染みの名手。90年代から2000年代初頭の大阪で辣腕を振るった名録音家でして、“大阪の匠”とでも呼ぶしかない逸品を連発している伝説なのです。その実力は、これまでのラインナップが物語っている。カンタンに列挙してみますと、RAINBOW『OSAKA 1995 1ST NIGHT(Black Box 006)』やAC/DC『OSAKA 2001(Zodiac 182)』、SYKESの『OSAKA 1998(Zodiac 233)』にYNGWIE MALMSTEENの『OSAKA 2002(Zodiac 234)』………。最近ではBON JOVIの『OSAKA 2003 1ST NIGHT(Zodiac 240)』も大好評を賜りました。本作は、その匠コレクションの最新弾であり、彼のコレクションの中でも、特にエッジの立ったクリア録音なのです。
そのサウンドで描かれるのは、当代きっての“怪物バンド”ぶりを振りまく横綱相撲。「Big Ten Inch Record」前でスティーヴン・タイラーが「ニューAEROSMITH? オールドAEROMITH?」と聞きますが、セットの軸になるのは黄金の70年代。次作『HONKIN’ ON BOBO』に収録されることになるブルース「Stop Messin’ Around」も披露されますが、それがピタッとハマるほどに古き良きロックンロールが心地よく、ショウが進むほどに“70年代の率”は高くなっていきます。
とは言え、クラシックス・オンリーというわけでもない。新作『JUST PUSH PLAY』やGEFFEN時代のヒット曲もたっぷり披露していますし、「I Don’t Want To Miss A Thing」も聴ける。このツアーからは公式盤『ROCKIN’ THE JOINT』もリリースされていますが、そこでは聴けない曲も山盛り……と言いますか、ほとんど被ってない。実に24曲中14曲が『ROCKIN’ THE JOINT』とは違うレパートリーなのです。そんな中で珍しいのは当時の新曲「Just Push Play」「Light Inside」「Drop Dead Gorgeous」。この3曲はツアーでしか演奏されていませんし、特に後者2曲は日本が最後になった。今となっては懐かしささえ覚えるレアなレパートリーです。

思い返せば、AEROSMITHは当時唯一の“怪物”でした。2002年と言えば、アクセルだけになったGUNS N’ ROSESが久々に来日したことでも思い出深いですが、それが衝撃だったのも他にビッグなバンドがいなかったから。MOTLEY CRUEは低迷の末に沈黙し、VAN HALENは開店休業状態。そんな中で、オリジナル・メンバーを誇示し、4大ドームを沸かし続けていたのはAEROSMITHをおいて他にいませんでした。

Disc 1(65:58)
1. Intro. 2. Beyond Beautiful 3. Love In An Elevator 4. Just Push Play 5. Jaded
6. Big Ten Inch Record 7. Pink 8. Monkey On My Back 9. Sick As A Dog 10. Mama Kin
11. Light Inside 12. Dream On 13. Drop Dead Gorgeous 14. Stop Messin’ Around

Disc 2(61:56)
1. Draw the Line 2. Seasons of Wither 3. I Don’t Want to Miss a Thing 4. Cryin’
5. Mother Popcorn 6. Walk This Way 7. Uncle Salty 8. Sweet Emotion
9. Livin’ On The Edge 10. What It Takes 11. Train Kept A-Rollin’

Zodiac 243

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