Blackmore’s Rainbow / Miami / 2CD

Blackmore’s Rainbow / Miami / 2CD / Rising Arrow

Translated Text:

Live at Jai Alai Fronton, Miami, FL. USA 15th July 1976

Click Image To Enlarge

“Rainbow of 1976” which was running running to the ultimate shape seeking hard rock ideals. The best live album that carved the early stage appears.
It is contained in this work “July 15, 1976 Miami Performance”. RAINBOW who made his debut with “Champion’s Champion” is not an album member and three people including Cozy Powell, Jimmy Bain and Tony Kalei join. We started the tour with the most memorable “champion who won the rainbow” line in the three-pronged politics era. Let’s first review the flow and let’s check the position of this work.

“September tour · finalize lineup”
· November 10 – December: North America # 1 (13 performances)
· February – March: Europe (cancellation)
“17 May” Release of the rainbow warrior “Release”
· June 11 ~ August 7: North America # 2 (32 performances) ← 【this work】
· August 31? September 14: UK (10 performances)
· September 20th – October 18th: Europe (20 performances)
· November 4th – 22nd: Australia (11 shows)
· December 2nd – 16th: First visit to Japan (10 performances)
“February 1977: Jimmy Bain dismissed”

This is the whole picture of the so-called “second phase RAINBOW”. As there are some obscure points in the record at that time, although the doubts remain in the number of performances, I think that you can imagine an approximate outline. They did “North America # 1” in 1975, but canceled the European tour of February – March 1976 after “Rainbow Shooter”. The Miami performance of this work was a concert of 22 concerts of “North America # 2” partitioning from June.
This work, including such a show, is one of the best name recordings in the early days. From “North America # 2”, there are also famous boards such as “THUNDER ROAR (June 17)” by New York performances and “BURBANK MASTER (August 3)” by Burbank, but three of them lined up in line “The splendor that can be called even. The cheers are also vital audiences recording, but their sturdy tones and detailed details are outside the common sense of the 70’s audience. It is a tremendous sound that you want to call “just like a sound board”. As a matter of fact, it is a recording which I once introduced as a gift board “MIAMI WIZARD”, but in this work I brush up with the latest and meticulous remaster. There was a feeling that Omoto somewhat missed poorly, but this work is wonderful high pitched sound which extends anywhere. Rather than merely raising the treble, the middle and low tone is also fine-tuned in total, the silence fills the depth like jet black and the ringing is natural only. Equalizing raises each part in a blurry way realizes a natural dynamism with different dimensions.
A wonderful thing of “North America # 2” to revive with that sound …… Speaking of the three-pronged politician RAINBOW, the finished style beauty image of West Germany and Japan, which was also formulated, is intense, but this work is on its way towards there. There is a sense of challenge fighting each other’s breath feeling and arrangement while having a tough touch as a whole. For example, there are no transit periods like “Kill The King” endings with no 6 strings of texture, or “Mistreated” long solos trying various phrases. “Blues” is not inserted in the solo of “Man On The Silver Mountain” as well, and is free from playing free form. “Starstuck” does not appear, and the composition that snow falls to the ending part at a stretch is fresh to the ear that the Japanese performance is the standard.
And “North America # 2” is the greatest taste, it is about 25 minutes “Stargazer” & “A Light In The Black” suite! “Stagazer” where Ronie gives a spectacular long solo with a slide with Ronnie’s slide with an ad lib different from the album, and the second stage RAINBOW is a massive explosion of “A Light In The Black”. Of course, not only for a long time but also a tight feeling that tightens up with crispness and extreme dynamism of the manic depression level become a big wave and it is a 25-minute period. The length of Impro is not the DEEP PURPLE of “IN ROCK” era, but its concentration is ultimate hard rock that exceeds even PURPLE hard rock.
Like the gift board “MIAMI WIZARD”, unfortunately this recording ends at the end of Koji’s drum solo. “Still I’m Sad” onwards are not recorded yet. And also like this “MIAMI WIZARD” another bonus track like “Blues” additionally recorded. I can listen to the version which Ronnie’s vocal goes in instead of instruments with a superb sound that can not beat the main part. Detailed date is unknown, but this pattern was seen in the second half of “North America # 2”. You can taste the bruzie two minutes played by Rocky & Ronnie’s English hero ‘s hero.

“North America # 2” became the first full-scale tour. It is a superb gem that vacuum packed with the finest sound with three-pronged politician RAINBOW just started running. Quality that can be enjoyed even by those not familiar with audiences recording, the fresh live album is impressed by the finished Japanese performance. And for the core maniacs, I’d like you to grab the process of evolution with the trilogy of “June ‘s” THUNDER ROAR “+ July’ s book + BURBANK MASTER in August …”. It is a superb inscription that can be recommended for all layers.



そんなショウを収めた本作は、初期でも屈指の名録音。「北米#2」からはニューヨーク公演の『THUNDER ROAR(6月17日)』やバーバンク公演の『BURBANK MASTER(8月3日)』といった名盤もありますが、それらに並ぶ“3大ライヴ盤”とさえ呼べる素晴らしさ。喝采も生々しいオーディエンス録音には違いないのですが、その逞しい楽音と細やかなディテールは70年代オーディエンスの常識外。「まるでサウンドボード」と呼びたくなる凄まじいサウンドなのです。実のところ、かつてギフト盤『MIAMI WIZARD』としてもご紹介したことのある録音なのですが、本作では最新・細心リマスターでブラッシュアップ。大元はやや抜けの悪いくぐもった感じがあったのですが、本作はどこまでも伸びる高音が素晴らしい。単に高音を上げたのではなく、中低音もトータルで微調整しており、無音は漆黒の如き深みを湛え、鳴りはあくまでもナチュラル。無闇やたらと各パートを上げるイコライジングとは次元の違う自然なダイナミズムを実現しました。
そのサウンドで甦る「北米#2」の素晴らしい事……。三頭政治RAINBOWと言えば、公式化もされた西ドイツや日本の完成された様式美イメージが強烈ですが、本作はそこへと向かう途中経過。全体に手堅い感触もありつつ、互いの呼吸感やアレンジを手探りするような挑戦感覚が溢れているのです。例えば、「Kill The King」エンディングの6連キメがなかったり、「Mistreated」のロングソロもいろいろなフレーズを試すような過渡期間がある。「Man On The Silver Mountain」のソロにも「Blues」がインサートされず、フリーフォームのプレイに終始。「Starstuck」も登場せず、一気にエンディングパートへ雪崩れ込む構成は、日本公演が基準になっている耳にはやけに新鮮なのです。
そして、「北米#2」最大の旨みと言えば、約25分に及ぶ「Stargazer」&「A Light In The Black」の組曲! ロニーがアルバムとは違うアドリブを交え、リッチーもスライドで壮大なロングソロを放つ「Stagazer」、第2期RAINBOWが一丸となって大爆発する「A Light In The Black」の一大巨編。もちろん、単に長いだけでなくキリキリと引き締まる緊張感と躁鬱レベルの極端なダイナミズムが大波となって押し寄せる25分間。インプロの長さこそ『IN ROCK』時代のDEEP PURPLEには及びませんが、その濃度はPURPLEさえも超えるハードロック究極の超大作なのです。
ギフト盤『MIAMI WIZARD』と同様、残念ながらこの録音はコージーのドラムソロが終わるところで終了。「Still I’m Sad」以降が未収録です。そして、これまた『MIAMI WIZARD』と同じくボーナストラック的に別公演の「Blues」を追加収録しています。本編にも負けない極上サウンドでインストではなく、ロニーのヴォーカルが入るバージョンが聴ける。詳しい日付は不明なのですが、このパターンは「北米#2」後期で見られたもの。リッチー&ロニーという英国ロックきってのヒーローが奏でるブルージーな2分間を味わえます。

初めての本格ツアーとなった「北米#2」。走り始めたばかりの三頭政治RAINBOWを極上サウンドで真空パックした極上の逸品です。あまりオーディエンス録音に慣れていない方でも楽しめるクオリティであり、完成された日本公演が染みついた方ほど新鮮なライヴアルバム。そして、コアなマニアの方には“6月の『THUNDER ROAR』+7月の本作+8月の『BURBANK MASTER』”の三部作で進化の過程を噛みしめて頂きたい……。あらゆる層の方にお薦めできる極上の銘品です。

Disc 1(49:11)
1. Over The Rainbow 2. Kill The King 3. Mistreated 4. Sixteenth Century Greensleeves
5. Catch The Rainbow 6. Man On The Silver Mountain

Disc 2(45:51)
1. MC 2. Keyboard Intro. 3. Stargazer 4. A Light In The Black 5. Still I’m Sad incl. Keyboard Solo
6. Drum Solo feat. 1812 Overture

Bonus Track
7. Blues (with Ronnie James Dio)

Ritchie Blackmore – Guitar Ronnie James Dio – Vocal Cozy Powell – Drums
Jimmy Bain – Bass Tony Carey – Keyboards

Rising Arrow-057

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.