Deep Purple / Osaka 2018 / 4CDR

Deep Purple / Osaka 2018 / 4CDR / Shades
Festival Hall, Osaka, Japan 17th & 18th October 2018

Play sample :

Click Image To Enlarge

Translated text:

The main venue that created “MADE IN JAPAN” “Osaka Festival Hall”. DEEP PURPLE ‘s finest live set that came back to the scene appears.
It is contained in such a work “October 17, 2018 + 18: Osaka Festival Hall” performance. 2 performances It is a 4-tuple that arranges each full audience recording of each performance for two discs each. First of all, let ‘s also organize the collection with the schedule together with “MAKUHARI 2018 (Shades 977)” released at the same time this week.

· October 14: Makuhari Messe “MAKUHARI 2018”
· October 15: Nagoya International Conference Center Century Hall
· October 17: Osaka Festival Hall 【this work disc 1-2】
· October 18: Osaka Festival Hall 【this work disc 3-4】
· October 20: Hiroshima Ueno Gakuen Hall
· October 22: Fukuoka Sun Palace

Over, all six performances. Initially it was only one Osaka performance, but also an additional performance was announced for the success. It became a continuous performance for 2 days as well as the first visit to Japan. The festival hall has images similar to the designated venue of DEEP PURPLE, but it is actually not so much compared to the Nippon Budokan. Nine performances have been held in the history of visiting Japan for the past 46 years and only three performances since it became current organization. Two of them are packed with this work.
Such a masterpiece recording is overwhelming direct feeling such a masterpiece recording. Both performances are by Mr. “Nishi Nippon Strongest Taper”, whose masterpiece skill is demonstrated without regret. It is Mr. Seki Mitsuteru who surprises any kind of band / show with a sound board type recording, but this time the violent close contact feeling is overwhelming. After all, the first day (Disc 1-2) is Steve Maws side in the second row, the second day (Disc 3-4) is the front row Roger Grover side. The amplifier is right in front of me and it picks up the raw sound that is emitted almost at zero distance.
Of course, we also inhale a beautiful venue sound unique to the festival hall, but it is a three-dimensional feeling that spreads far behind the back of the head. Does not come in between a straightforward performance sound. It is normal if it comes close to that & direct, but if it is normal it is a thing to be scolded, but there is a good hand. No matter how glowing it is, no matter how luxurious and smooth ringing will collapse, there is no hesitation as to search for the direction of the microphone after the performance. From the beginning, the sense of stability of the iron wall is not shaken. What is more miraculous is that there are almost no audiences and noises in spite of the forefront. Perhaps because of the customer base, due to the sense of tension that may be the last, the surroundings are getting quiet with Shin and it is as if it is on the stage or in the rehearsal room.
Although such a special seats sound penetrates two performances, in reality the personality of both performances also splits clearly. As mentioned above, the first day is Mors’ side, so it is focused on the guitar, the second day is Roger’s side so the base is overwhelming (both drums are intense noisy sounds!). Conversely both the keyboard and the vocal feel distance a little, but it is because “guitar & bass & drum” is too brilliant (too?). The strange feeling of straightball and balance is about those who were told IEMs rather than audiences recording (IEMs are too beautiful to ring).
The two performances drawn with such a sound are intense bold ensemble until terrible. Every guitar on the first day jumps into everyone’s everything, and the base on the second day is clever without having a whole fluffy line. Especially the base of Roger is pulled out of the liver. From the band image, the keyboard & guitar basketball is like liver, but nothing. Anyway, every song is singing with a variety of phrases and continues to lead the show throughout the whole day. There is a drumming like Ian Paisy’s demon (which should have been hospitalized due to a stroke two years ago … is he a civilian exterior), and in fact the rhythm corps dominates the ensemble It is clear that it is clear. “Guitar & bass & drum” is the basis of rock. Because the three are overwhelming, intertwining improvisation echoes more intensely than ever. Of course, although it has been felt as a result until now, it is said that it was a terrible level up to this point … … It is a deep band behind the scene that 46 years since the first visit to the world still new findings are still to be found Will you.

It is a superb recording set boasting unrivaled personality, making it an overwhelming high quality sound anyhow. Originally, although the number of letters is allocated to the play of “Hush” intro which changes daily in each performance (the first day is riff of “Can not Turn You Loose” style, the second day is “Summertime Blues”), That’s not it. Even a deep emotion of “Festival Hall which may be last” is erased all by myself, and a masterpiece of a live album that gets drunk with a supple and overwhelming ensemble. Please enjoy at full capacity with 2 performances as much as you want.

あの『MADE IN JAPAN』を生み出したメイン会場“大阪フェスティバルホール”。その現場に帰ってきたDEEP PURPLEの極上ライヴセットが登場です。
そんな本作に収められているのは「2018年10月17日+18日:大阪フェスティバルホール」公演。2公演それぞれのフル・オーディエンス録音をディスク2枚ずつに配した4枚組です。まずは、今週同時リリースの『MAKUHARI 2018(Shades 977)』も併せ、日程でコレクションを整理しておきましょう。

・10月14日:幕張メッセ 『MAKUHARI 2018』
・10月17日:大阪フェスティバルホール 【本作ディスク1-2】
・10月18日:大阪フェスティバルホール 【本作ディスク3-4】

以上、全6公演。当初は大阪1公演のみでしたが、盛況のために追加公演も発表。初来日と同じく2日間の連続公演となりました。フェスティバルホールはDEEP PURPLEの指定会場のようなイメージもありますが、実は日本武道館に比べるとそうでもない。これまで46年間の来日史で9公演行われており、現編成になってからは3公演のみ。そのうち2公演が本作につまっているわけです。

とにかく圧倒的なハイクオリティ・サウンドにして、無類の個性を誇る極上録音セットです。本来であれば、各公演で日替わりになる「Hush」イントロの遊び(初日は「Can’t Turn You Loose」風のリフで、2日目は「Summertime Blues」)に字数を割くのですが、それどころじゃない。「最後かも知れないフェスティバルホール」の深い深い感慨さえもいつの間にか消し飛び、しなやかで圧倒的なアンサンブルに酔いしれてしまうライヴアルバムの大傑作。どうぞ、2公演フルで思う存分お楽しみください。

Live at Festival Hall, Osaka, Japan 17th October 2018

Disc 1 (44:11)
1. Mars, the Bringer of War 2. Highway Star 3. Pictures of Home 4. Bloodsucker
5. Strange Kind of Woman 6. Sometimes I Feel Like Screaming 7. Uncommon Man 8. Lazy

Disc 2 (58:47)
1. The Surprising 2. Time for Bedlam 3. Birds of Prey 4. Keyboard Solo 5. Perfect Strangers
6. Space Truckin’ 7. Smoke on the Water 8. Can’t Turn You Loose 9. Hush 10. Black Night

Live at Festival Hall, Osaka, Japan 18th October 2018

Disc 3 (44:47)
1. Mars, the Bringer of War 2. Highway Star 3. Pictures of Home 4. Bloodsucker
5. Strange Kind of Woman 6. Sometimes I Feel Like Screaming 7. Uncommon Man 8. Lazy

Disc 4 (59:59)
1. The Surprising 2. Time for Bedlam 3. Birds of Prey 4. Keyboard Solo 5. Perfect Strangers
6. Space Truckin’ 7. Smoke on the Water 8. Summertime Blues 9. Hush 10. Black Night

Ian Gillan – Vocal Steve Morse – Guitar Roger Glover – Bass
Don Airey – Keyboards Ian Paice – Drums

Shades 978

Leave a Reply

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