GiGinJapan Artwork of Japanese CDs (mostly) Guns N’ Roses / Tokyo Dome 1992 2nd Night / 3CD+1Bonus CDR / ZODIAC
Live at Tokyo Dome, Tokyo, Japan 20th February 1992 TRULY PERFECT SOUND(from Original Masters)*UPGRADE.plus Bonus CDR “USE YOUR ILLUSION I: MOBILE FIDELITY CD”
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In the rock world … No, GUNS N’ROSES in 1992 returned to Japan as a giant symbolizing the music scene. The original recording has been brushed up and appeared. Two titles will be released at the same time on the permanent storage press 3CD.
Of the two titles released at the same time this week, this work is the first. This is the best audience recording of “February 20, 1992: Tokyo Dome Performance”. Two visits to Japan were realized at “USE YOUR ILLUSION TOUR”, and one act was left as the official video “USE YOUR ILLUSION WORLD TOUR: 1992 IN TOKYO I & II”. First of all, let’s look back on the two visit schedules to remind us of such a situation.
● 1992
・ February 19: Tokyo Dome
・ February 20: Tokyo Dome ← ★ This work ★
・ February 22 “TOKYO DOME 1992 3RD NIGHT” & official video
● 1993
・ January 12-15: Tokyo Dome (3 performances)
This was a performance in Japan in 1992/1993, and it was all limited to Tokyo Dome. The official video was shot on the last day of 1992, but this work was the previous concert. Speaking of “visiting Japan in 1992”, the official video and TV broadcast on the final day were so powerful that countless sound-dropping sound boards were released over the years. To be honest, the other days were hazy, and despite the presence of the band, which was too big, the excavation of audience recordings was not good. What changed that history is “DISTORTION OF THE SENSES” that appeared on the Shades label. It was an original master handed over by the recorder himself, but it not only recorded the full “February 20th”, which was appreciated just by listening to it, but also had a tremendous high-quality sound.
The best thing about it is the clear air. Of course, because it’s the Tokyo Dome, it’s not as close as a “sound board”, but on the other hand, the clear core and vivid details make me wonder, “This is a dome recording !?” There is no doubt that it also sucks in the hall sound, but it does not cause cloudiness or turbidity, and the playing sound and singing voice that penetrates the center is vivid like a laser beam.
This work is the ultimate brush-up board that maximizes the possibility of such a famous recording. This has been completely reborn. Of course, we don’t earn a lot of sound pressure. After re-digitizing, the pitch and phase are carefully corrected, and the balance for each range is also adjusted. In particular, the balance between bass and treble has been rebalanced. It doesn’t seem like a big deal in words, but the results are enormous. Especially intense is the deep bass. Obviously, the power and weight are greater than the original sound, but there is no sense of blur. Even one kick of the bass drum is clear, but the attack kicks up the dosdos and the five organs, and the groove shakes the six swords. It’s amazing because it’s well-balanced with the midrange and treble range while giving such a strong punch.
The upgrade sound that was permanently preserved was a full show that was (totally) different from the last day, which is famous for the official video. First, let’s organize the set while comparing.
● Fixed song
・ Appetite for Destruction: Mr. Brownstone ／ Nightrain ／ Welcome To The Jungle ／ Sweet Child O’Mine ／ Paradise City
・ GN’R Rise: Patience
・ Use Your Illusion I: Bad Obsession / Live And Let Die / Don’t Cry / Double Talkin’Jive / November Rain
・ Use Your Illusion II: So Fine / Civil War / You Could Be Mine / Knockin’On Heaven’s Door
・ Others: Attitude / Godfather Theme
● Daily songs
・ Appetite for Destruction: It’s So Easy
・ GN’R Rise: Move To The City
・ Use Your Illusion II: Locomotive (★)
* Note: The “★” mark is a song that cannot be heard even in the official video “USE YOUR ILLUSION WORLD TOUR: 1992 IN TOKYO I & II”.
… And it looks like this (each person’s solo time and cover songs played as an intro are omitted). The above is divided into “fixed songs” played in all three performances of Tokyo Dome and other “daily songs”. Although it changes daily, most of them are covered with the last day, but the one that shines glaringly is “Locomotive”. Even if you look at the world, it is a song that has been played only with one hand throughout the tour, and of course it was only on this day that it was shown in Japan later and earlier. You can experience such a super rare song at its best.
Of course, this work is not an album for one song. The performance itself is full of energy, and there are plenty of accidents. First of all, it’s a matter of spirit, but in fact, shooting was taking place on this day as well. As he said in the MC with an interpreter after “Patience”, he was clearly more enthusiastic than the first day (February 19th), and the band was playing comfortably as if he was pulled by the accelerator in a good mood. .. The mood of the show, which seemed to run fast as it was, changed in the second half of “Civil War”. The accelerator suddenly broke at the end of the song dramatically. It seems that there was something wrong with the equipment on the stage and the accelerator was about to hit something (teleprompter !?), so I hit the microphone and got off the stage.
The scene was noisy at the show that suddenly stopped. While the guitar was ringing with a feeling of lack of possession, a Japanese staff member came out and announced, “There is a slight technical problem, please wait …”. About 10 minutes after that, the accelerator came back, but the band jammed in the meantime to keep it. If you have experienced the site, you may remember the thrilling mood. That indescribable feeling of air is revived in a super-realistic way.
The second night of Tokyo Dome, which was a performance in Japan during the heyday that reigned as a symbol of the times, had all the extremely rare songs, enthusiastic performances, and thrilling troubles. This work is a cultural heritage album where you can experience such a delicious scene with the best sound. The ultimate quality board that brings out the possibilities of original recording by all means. Please enjoy it with the permanent storage press 3CD.
★ The best audience recording of “February 20, 1992: Tokyo Dome Performance”. The original master, which was a hot topic in “DISTORTION OF THE SENSES”, has been meticulously mastered, and the clear core and vivid details make me wonder, “This is a dome recording !?” The playing sound and singing voice are vivid like a laser beam, and there is no sense of blur even in the bass with increased power and weight. You can experience the full show of the heyday, such as “Locomotive” that you can not hear even in the official video and the accelerator that interrupts the show due to equipment trouble.
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ロック界の……いえ、音楽シーンを象徴する超大物となって日本に戻ってきた1992年のGUNS N’ ROSES。そのオリジナル録音がブラッシュ・アップして登場。永久保存プレス３CDで２タイトル同時リリース決定です。
今週同時リリースとなる２タイトルのうち、本作はその第１弾。「1992年２月20日：東京ドーム公演」の極上オーディエンス録音です。“USE YOUR ILLUSION TOUR”では二度の来日が実現し、その一幕は公式映像『USE YOUR ILLUSION WORLD TOUR: 1992 IN TOKYO I & II』としても残されました。まずは、そんな状況を思い起こすためにも二度の来日スケジュールから振り返ってみましょう。
●1992年
・２月19日：東京ドーム
・２月20日：東京ドーム ←★本作★
・２月22日『TOKYO DOME 1992 3RD NIGHT』＆公式映像
●1993年
・１月12日-15日：東京ドーム（３公演）
これが1992年／1993年の来日公演で、すべて東京ドーム限定でした。公式映像は1992年最終日で撮影されたわけですが、本作はその１つ前にあたるコンサートでした。「1992年の来日」と言うと最終日の公式映像やテレビ放送があまりにも強力で、長年に渡って音落としサウンドボードばかりが無数にリリース。正直なところ他の日は霞んでしまい、巨大すぎるバンドの存在感に反して、オーディエンス録音の発掘も芳しくありませんでした。そんな歴史を変えたのが、Shadesレーベルから登場した『DISTORTION OF THE SENSES』。録音家本人から譲られたオリジナル・マスターだったのですが、聴けるだけでもありがたい“２月20日”をフル収録しているだけでなく、凄まじい高音質だったのです。
何と言っても素晴らしいのは、クリアな空気感。もちろん、東京ドームですから「まるでサウンドボード」と言うほどド密着でもないのですが、その一方でくっきりとした芯と鮮やかなディテールには「これがドーム録音!?」と耳を疑う。間違いなくホール鳴りも吸い込んでいるものの、それが曇りや濁りを起こさず、ド真ん中を貫く演奏音や歌声がレーザー光線のようにビビッドなのです。
本作は、そんな名録音の可能性を最大限に引き出した究極ブラッシュ・アップ盤。これがもう、丸っきり生まれ変わっている。もちろん、無闇矢鱈な音圧稼ぎはしておりません。再デジタル化した上で丁寧にピッチ・位相を修正し、さらに各音域ごとのバランスも調整。特に低音と高音のバランスを整え直しているのです。言葉にすると大した事なさそうなのですが、その成果は絶大。特に強烈なのは、重低音。明らかに原音よりもパワーも重量感も増しているのに、ボケ感がまるでなし。バスドラのキック１発までくっきりといてそれでいて、そのアタックがドスドスと五臓を蹴り上げ、グルーヴが六腑を揺らす。そこまで強烈なパンチを効かせつつ、中音域・高音域との均整が取れているから凄いのです。
そんなアップグレード・サウンドで永久保存されたのは、公式映像で有名な最終日とは似て（まったく）非なるフルショウ。まずは比較しながらセットを整理してみましょう。
●固定曲
・アペタイト・フォー・ディストラクション：Mr. Brownstone／Nightrain／Welcome To The Jungle／Sweet Child O’ Mine／Paradise City
・GN’Rライズ：Patience
・ユーズ・ユア・イリュージョンＩ：Bad Obsession／Live And Let Die／Don’t Cry／Double Talkin’ Jive／November Rain
・ユーズ・ユア・イリュージョンII：So Fine／Civil War／You Could Be Mine／Knockin’ On Heaven’s Door
・その他：Attitude／Godfather Theme
●日替わり曲
・アペタイト・フォー・ディストラクション：It’s So Easy
・GN’Rライズ：Move To The City
・ユーズ・ユア・イリュージョンII：Locomotive（★）
※注：「★」印は公式映像『USE YOUR ILLUSION WORLD TOUR: 1992 IN TOKYO I & II』でも聴けない曲。
……と、このようになっています（各人のソロ・タイムやイントロ的に演奏されるカバー曲などは省略しています）。上記は東京ドーム３公演すべてで演奏された「固定曲」とそれ以外の「日替わり曲」に分けたもの。日替わりとは言ってもほとんどが最終日と被っていたりもするのですが、その中でギラリと光っているのが「Locomotive」でしょう。世界的に見てもツアー全体で片手で数えられるほどしか演奏されていない曲ですし、当然日本で披露されたのは後にも先にもこの日だけ。そんな激レア曲を極上体験できるわけです。
もちろん、本作は１曲のためのアルバムではない。演奏そのものの気合いも十分で、アクシデントまで盛りだくさん。まず気合いの件ですが、実はこの日も撮影が行われていた。「Patience」の後で通訳を交えたMCで語っている通り、初日（２月19日）よりも明らかに張り切っており、機嫌の良いアクセルに引っぱられるようにバンドも気持ち良さそうに演奏している。そのまま快走するかと思われたショウのムードが一転するのは後半に差し掛かった「Civil War」。ドラマティックに曲を締めくくったところで突然アクセルがブチ切れ。どうもステージ上の機材に不具合があってアクセルが何か（テレプロンプター!?）にぶつかりそうになったようで、マイクを叩きつけてステージを降りてしまうのです。
いきなり止まったショウに現場は騒然。手持ち無沙汰な感じでギターが鳴る中、日本人スタッフが出てきて「ちょっとテクニカルの問題があって、ちょっと……待ってください」とアナウンスする。その後10分ほどでアクセルも戻ってくるのですが、その間をバンドがジャムって間を保たせている。現場をご体験された方ならスリリングなムードをご記憶かも知れません。あの何とも言えない空気感が超リアルに甦ってくるのです。
時代の象徴として君臨していた一大全盛期の来日公演にして、激レア曲も気合いの入った熱演もスリリングなトラブルも総てが揃っていた東京ドーム第二夜。本作は、そんな美味しい現場を極上サウンドで本生体験できる文化遺産アルバムです。あらゆる手段でオリジナル録音の可能性を引き出した究極クオリティ盤。どうぞ、永久保存プレス3CDで存分にお楽しみください。
★「1992年２月20日：東京ドーム公演」の極上オーディエンス録音。『DISTORTION OF THE SENSES』で話題をさらったオリジナル・マスターを細心マスタリングで磨き上げた銘品で、くっきりとした芯と鮮やかなディテールには「これがドーム録音!?」と耳を疑う。演奏音や歌声がレーザー光線のようにビビッドで、パワーも重量感も増した低音にもボケ感がまるでなし。公式映像でも聴けない「Locomotive」や機材トラブルにブチ切れてショウを中断させるアクセルなど、全盛期のフルショウを極上体験できます。
Disc 1 (46:55)
1. My Way
2. It’s So Easy
3. Mr. Brownstone
4. Locomotive
5. Bad Obsession
6. Live And Let Die
7. Attitude
8. Don’t Cry
9. Nightrain
10. So Fine
Disc 2 (45:29)
1. Wild Horses
2. Patience
3. Welcome To The Jungle
4. Double Talkin’ Jive
5. Civil War
6. Improvisation
Disc 3 (76:09)
1. Piano Solo
2. November Rain
3. Drum Solo
4. Guitar Solo
5. Godfather Theme
6. Sail Away Sweet Sister
7. Bad Time
8. Sweet Child O’ Mine
9. Move To The City
10. You Could Be Mine
11. Only Women Bleed
12. Knockin’ On Heaven’s Door
13. Mother
14. Paradise City
ZODIAC 426
———————————————–
A gold CD reprint series of “Mobile Fidelity” that attracted a lot of attention. The latest bullet is the gift release decision.
Speaking of “Mobile Fidelity Sound Lab (MFSL)”, a manufacturer specializing in analog masters, it is a trusted brand that audiophiles around the world have tremendously supported. With all his passion, the master of sound digitized a number of great masterpieces from master tapes. Among such series, the 24K gold CD “UDCD 711” released in 1997 is included in this work. Yes, it is “USE YOUR ILLUSION I”, the “next move” of the revolutionary GUNS N’ROSES, which the whole world has greeted with a sigh.
Such MFSL borrowed an original master tape from a record company from 1987, and digitized a number of masterpieces one by one. We have released the “Ultradisc” series, which transfers the sound of the master tape to a CD. Currently, we are also expanding into the fields of SACD and LP, but it is also a point that this work was made into a CD in the first half of the 90’s. The master of magnetic tape is vulnerable to deterioration over time, and the more time passes, the more the sound at the time of recording is lost. In some cases, the tape may be distorted or stuck, but even if it is stored precisely, it cannot prevent the magnetism from disappearing. Nowadays, LPs that record in a physical groove sound better than the master tape itself … and so on. In that respect as well, the “Ultradisc” series was a great achievement. It started in the 1980s, when CDs were in widespread use, and left the sound of master tapes digitally earlier than the advent of new technology CDs that claimed high sound quality.
The MF contained the master sound drawn in this way in a 24-karat gold CD. Gold-plated coatings with a purity of 99% or higher are usually more reflective than CD metal thin films and can reduce errors. The aim was also important, but what is now considered to be even more important is preservation. Polycarbonate on CD is water retentive and corrodes (that is, rusts) the metal thin film (aluminum) inside. When you hold an old CD over the light, you may see small spots that are lumpy, but it is said that it is a corroded hole, which is one of the causes of reading errors. Gold, on the other hand, is the most stable metal and does not rust in nature. Of course, since it is a coating, there are limits, but it has a storage capacity that is incomparable to ordinary CDs. [Unprocessed “USE YOUR ILLUSION I” with vivid dynamism just by the vividness of the details] Then, it is this work “USE YOUR ILLUSION I” that conveys the master sound as of “6 years after recording”. Already, there is not much difference due to the timing of digitization only for works in the CD era, but it is wonderful that it is natural and rich in three-dimensionality. In the later remastered CD, there is a directing feeling that intentionally raises the highlights and emphasizes the three-dimensional effect, but this work does not have such a bruise. By reproducing the “studio sound” that produced the master tape as it is, it is sufficiently three-dimensional, and because there is no processing feeling, even the ultra-fine details remain realistic.
For example, “November Rain”. It is a masterpiece among the masterpieces that are dramatically excited by the strings, but the strings are very rich. In the remastered CD, there was a sense of dynamism that the thick flat plate approached and separated, but in this work, you can feel the presence of each instrument and each string in the thickness. While the fine irregularities wriggle, the whole becomes a big wave and rises. If you compare it visually, you can see fine splashes on the surface of the big tsunami. The delicate part has an inclusive power, and when it gets excited, the dramaticism that has a sense of reality rushes in.
Of course, the essential band sound is also great. The feeling of “ringing in the studio” is amazing, both in the singing voice of the accelerator and in the duffing feeling. And above all, slash. His guitar has a distinctive tone, as well as picking nuances and fingerboard rubbing details that give off an indescribable taste. In this work, there is a sense of reality that the slash is playing right in front of you, and when you close your eyes, you can see his fingerprint and the unevenness of the wound strings rubbing against each other. Such a super-realistic feeling and a natural feeling that is not emphasized too much. It is exactly “USE YOUR ILLUSION I” that is a remarkable feature of MFSL.
The master sound of a masterpiece that could be retained until the present day because it is a gold CD by “Mobile Fidelity”. Even if I try to get the actual product now, it is difficult because it was originally produced in a limited number. A gift release for as many people as possible to experience the beautiful sound. Please enjoy yourself.
