GiGinJapan Artwork of Japanese CDs (mostly) Angra / Nagoya 1998 Dat Master / 2CDR / Shades
Live at Club Diamond Hall, Nagoya, Japan 7th December 1998
Play sample :
With the late Andre Matos, ANGRA in 1998 delivered the real thrill of evolving melodic power metal to Japan. A superb original recording that allows you to enjoy the precious full show is now available.
“Nagoya Diamond Hall performance on December 7, 1998” is imbued in this work. It is a superb audience recording that vacuum-packed the whole story. ANGRA in the Andre era visited Japan twice in 1997/1998, and this work is the latter. First, let’s look back at the schedule and check the position of the show.
・December 4: LIQUIDROOM
・December 5th: Tokyo Welfare Pension Hall
・December 7: Diamond Hall ← This work
・December 8: IMP Hall
A total of 4 performances. Including the first visit to Japan (1997), 8 performances have been realized, and the Nagoya performance of this work was the second to last concert in the Andre era. It was the day before the simultaneous release of STRATOVARIUS’s same title “NAGOYA 1998 DAT MASTER (Shades 1684)”, but at that time the latest melodic power metal tour was batting in Japan. This time, it is also a one-shot release that vividly revives the end of the year 25 years ago when both men were sharpened like a winter storm.
This work, which vacuum-packed such a scene, is a famous recording full of intense tightness and strong direct feeling. Recently, our shop has introduced many original DAT masters of Nagoya performances on its own route, but this work is the latest bullet. Anyway, the core is very thick and zero distance. It is originally a small club size, but it is closer than that, and it is a direct feeling as if you were standing on the stage with the band.
What’s more, it’s powerful and beautiful. No buzzing, no mixing of sounds. If the feeling of separateness is so vivid that you can’t believe it’s through the atmosphere, the sound that doesn’t get muddy even when the band is united and approaches the highlights is extremely beautiful. Furthermore, the vividness and the sense of separation are clear until one sound is spun by one person. For example, base. Usually, heavy bass tends to be a weak point of audience recording, but this work stands out beautifully to the outline of each grain of attack sound. The base run that is created by connecting it feels like a “prayer” made of beads rather than a “single line”. Of course, the bass is only mentioned as an easy-to-understand example, and Kiko Loureiro’s rapid-fire phrases, the harmony of twin guitars and keyboards, the three-dimensional drums, and Andre’s singing voice are all vividly drawn. there is That is what makes it a wonderful “substitute for the official” of the Andre era without an official full live album.
A full show that sums up the Andre era is depicted with such an ultra-vivid sound. Let’s put things in order here,
● Fire Works (7 songs)
・Wings Of Reality / Lisbon / Metal Icarus / Petrified Eyes (★) / Speed (★) / Paradise (★) / Fireworks (★)
● Others (9 songs + α)
・Angels Cry: Angels Cry/Stand Away/Carry On/Evil Warning
・Holy Land: Nothing To Say/Make Believe/Carolina IV/Silence And Distance
・Freedom Call: Freedom Call (★)
* Note: “★” marks are songs that have not been played since Andre left.
… and it looks like this. The set that concentrates the initial three works and the EP “FREEDOM CALL” into one show is just the culmination. At the Tokyo performance, I played covers of JUDAS PRIEST and IRON MAIDEN, but in Nagoya, I solidified with the original. The axis is the latest work “FIREWORKS” at that time, which is also the most valuable. Andre will withdraw from this work in a little over a year, but the repertoire such as “Petrified Eyes”, “Speed”, “Paradise” and “Fireworks” has not been played at all since then. It is also a limited song only for this tour. In addition, the magari “Carolina IV” is divided into two parts, and the rhythm section and keyboard solos, as well as “Freedom Call” and “Silence and Distance” are incorporated in the middle, presenting the aspect of a large suite.
An already valuable live album from the Andre Matos era. Also, you can enjoy the full performance here in Japan with the best tight sound of the sound board barefoot. Michael Kiske has returned to HELLOWEEN, but I will never be able to experience Andre’s “Carry On” again. That feeling of exhilaration that made my blood boil, my fist that hurt because I clenched it too hard, and the “Go!” I spit out from my dry throat. Please, please remember Tagiri 25 years ago with this work of the finest sound.
★ The best audience recording of “December 7, 1998 Nagoya Diamond Hall Performance”, which was the last visit to Japan in the late Andre Matos era. An original DAT master excavated on its own route, a furiously tight name recording. Anyway, the core is very thick and zero distance. Direct feeling as if standing on the stage with the band. It is a shocking new masterpiece that perfectly fulfills the “official substitute” of the Andre era without an official full live album.
Shades 1683
