Deep Purple / Osaka 1985 2nd Night / 2CD

Deep Purple / Osaka 1985 2nd Night / 2CD / Darker Than Blue
Live at Osaka-Jo Hall, Osaka, Japan 9th May 1985

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The world first appearance master of shock is a new excavation. A totally different superlative recording than ever appeared in the Permanent Save Press 2CD!
The performance of “May 9, 1985: Osaka Castle Hall” was recorded in the new excavation master. Yes, the only performance in Japan where the “golden five” reunites. It is a new audience recording that tells the scene. First of all, let’s check the show position from the date 34 years ago when the hard rock fan’s dream came to fruition.

・ May 8: Osaka Castle Hall
・ May 9: Osaka Castle Hall [This work] ・ May 11: Nagoya City International Exhibition Center
・ May 13-16: Nippon Budokan (4 performances)

Above, all seven performances. Although I conquered Higashi-Meihan in a great venue, this work is on the second day. In particular, Osaka’s two days plus Nagoya’s three days is also summarized in the super masterpiece ‘FAR FROM GOD (Darker Than Blue 115-120)’, but what has been unearthed this time is a completely different new master. It is not a generational difference nor a mastering difference, but a completely separate recording by a completely different recording house.
It is a surprise that only 34 years of new excavations have been realized, but it is the sound that destroys the heart even more. The “FAR FROM GOD” master was also a recording of a miracle, but this work is no less superior. Anyway, shock from the moment of playing. Super clear and wonderfully on from Bach’s “Toccata and Fugaani minor tones” telling the opening. And if “Highway Star” runs out from that beat, I will be surprised twice. Even if the whole band comes in, the clearness doesn’t shake, and the golden ensemble is neat and neat. Is this a true 80’s cassette recording? The sound of “?” In the head pops out of the speaker.
And the third surprise is that the sound gets better in the second half. It’s great from the beginning, but it’s clearer and on in the second half. However, I can not assert that it is easy to update the highest peak ever. Almost the same level as the “FAR FROM GOD” master but the taste is different. The super vivid core of the second day of “FAR FROM GOD” shines with glaring, and it has been attacked by a powerful force, but the taste of this work is in the neat “natural” sound. If you write like this, you may imagine a blurry, bobby-like hole sound, but it is not. The sharp core jumps into the ear, and the “sounding” rising from there is extremely faint and full of transparency. Its fine, almost velvety luster. If “FAR FROM GOD” is a brilliant sound of digital recording level, this work dissolves in the natural feeling of analog taste. I can’t get any better or worse than this. It is just two major recordings standing in the highest peak ever.
Moreover, this sound is the best fit in the second DEEP PURPLE. If “FAR FROM GOD” master conveys the power of the second term, this work conveys the beauty of the color. Especially delicious are Richie Blackmore and John Lord. Even the mellow Strato sound is even more lustrous, and John’s organ is full of breasts of 70’s vintage heart. Of course, the details are blurred and there are neither original nor child, but both are sharp at the touch level, and the outline vivid melody is free improvisation and scatter sparks. Although the power of the two members by Ian has risen to “FAR FROM GOD”, the “sane” and “taste” by Richie & John are better for this work. Moreover, complete recording. There is a tape change cut after the drum solo, but it has nothing to do with the playing sound, and the missing MC and cheers are complemented by the “FAR FROM GOD” master.
The show drawn with such a sound is also great. On the first day of Osaka, it seems that Ritchie had not been able to cut back on one day whether it was too busy to see Osaka (the venue is different) that gave birth to “LIVE IN JAPAN”, but on the second day, it changed and became a masterpiece. All five of them are in excellent condition, and their famous performances that have not been heard by Nori burst out (Girran’s voice was compared with 1972 at that time, but it may not be the best of the re-organization era now if it looks back now). The encore, which was only “Smoke On The Water” on the previous day, has been increased to three songs at once. At the beginning, “Woman From Tokyo”, “My woman from Owatsua ♪” and (very crisply) Singing, etc. are just a good mood and the previous melodious performance is bashed.

The dream of 1985 when Richie & Giran came to Japan. Among them, it is the world’s first publicized master vacuum-packed with the best sound on the second day of Osaka, which is known as a masterpiece of excellence. The surprise of the new excavation, the wonderfulness of the sound, the impression of the famous performance … The Press 2 CD that lets you enjoy the joy of listening to the bootleg to the greatest class. Please enjoy yourself to the fullest.
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・5月9日:大阪城ホール 【本作】

以上、全7公演。東名阪を名会場で制覇したわけですが、本作はその2日目にあたります。特に大阪2日間+名古屋の3日間は超傑作『FAR FROM GOD(Darker Than Blue 115-120)』にもまとめられていますが、今回発掘されたのは完全に別の新マスター。それもジェネ違いやマスタリング違いではなく、まったく違う録音家による完全な別録音なのです。
34年を経て新発掘が実現しただけでも驚きですが、さらに肝を潰すのがサウンド。『FAR FROM GOD』マスターも奇跡の名録音でしたが、本作もまた勝るとも劣らないのです。とにかく、再生した瞬間から衝撃。開演を告げるバッハの「トッカータとフーガニ短調」からして超クリアで素晴らしくオン。そして、あのビートから「Highway Star」が駆け出すと二度ビックリ。バンド全体が入ってきてもクリアさが揺るがず、端正なまま黄金のアンサンブルがディテールまでクッキリ。これが本当80年代のカセット録音?と頭の中に「?」が飛び交うサウンドがスピーカーから吹き出してくるのです。
そして、三度目のビックリは後半になるほど音が良くなっていく事。冒頭からして素晴らしいのですが、後半になるとさらにクリアでオンになっていくのです。とは言え、カンタンに“史上最高峰を更新”とも断言できない。『FAR FROM GOD』マスターとほぼ同レベルながら味わいが異なるのです。『FAR FROM GOD』の大阪2日目が超ビビッドな芯がギラギラと輝き、ビビる寸前のド迫力で攻めてきましたが、本作の旨みは端正さでナチュラルな“鳴り”にある。こう書くとボケボケ・ボワボワなホール鳴りをイメージされるかも知れませんが、そうではありません。くっきりとした芯が耳に飛び込みつつ、そこから立ち上る“鳴り”は極めてうっすらとしていて、透明感もたっぷり。そのきめ細かく、まるでビロードのような艶やかさを醸している。『FAR FROM GOD』がデジタル録音レベルの鮮烈サウンドだとすれば、本作はアナログ・テイストのナチュラル感に心が溶ける。こればかりはどうにも優劣が付けられない。まさに史上最高峰で並び立つ2大録音なのです。
しかも、このサウンドが第2期DEEP PURPLEに最高位フィットしている。『FAR FROM GOD』マスターが第2期のパワーを伝えてくれるとしたら、本作は色合いの美しさを伝えてくれる。特に絶品なのがリッチー・ブラックモアとジョン・ロード。ただでさえ芳醇なストラト・サウンドは一層艶やかになり、ジョンのオルガンは70年代ヴィンテージの薫りを胸いっぱいに発散している。もちろん、ディテールがボケては元も子もないのですが、両者ともタッチのレベルで鮮明であり、その輪郭鮮やかな旋律が自在なインプロヴィゼーションとなって火花を散らす。2人のイアンによる“パワー”では『FAR FROM GOD』に軍配が上がるものの、リッチー&ジョンによる“色気”や“味”は本作の方が美味いのです。しかも、完全収録。ドラム・ソロの後でテープチェンジのカットがありますが、それも演奏音とは関係ないですし、欠けたMCや歓声も『FAR FROM GOD』マスターで補完してあります。
そんなサウンドで描かれるショウがまた素晴らしい。大阪初日は『LIVE IN JAPAN』を生んだ大阪(会場は違いますが)に臨む気迫が空回りしたのか、リッチーが今ひとつノリ切れなかったようですが、2日目は打って変わって本領発揮。5人が5人とも絶好調で、ノリにノッた名演が炸裂する(当時はギランの声を1972年と比較したものですが、今になって振り返れば再結成時代のベストではないでしょうか)。その決まりまくるショウに気をよくしたのか、前日では「Smoke On The Water」だけだったアンコールも一気に3曲へ増量。その冒頭となる「Woman From Tokyo」では「My woman from オウサッァッ♪」と(えらく歯切れ良く)歌うなど、とにかく上機嫌で前のめりな名演がぶちかまされるのです。



Disc 1 (67:14)
1. Intro. 2. Highway Star 3. Nobody’s Home 4. Strange Kind Of Woman
5. Blues 6. A Gypsy’s Kiss 7. Perfect Strangers 8. Under The Gun
9. Lazy 10. Drums Solo 11. Child In Time

Disc 2 (53:57)
1. Knocking At Your Back Door 2. Difficult To Cure 3. Keyboard Solo
4. Space Truckin’ 5. Woman From Tokyo 6. Black Night 7. Smoke On The Water

Ian Gillan – Vocal Ritchie Blackmore – Guitar Roger Glover – Bass
Jon Lord – Keyboards Ian Paice – Drums

Darker Than Blue 268/269

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