Joe Lynn Turner With Glenn Hughes / Nagoya 2000 Dat Master / 2CDR

Joe Lynn Turner’s 2000 performance in Japan, with Glenn Hughes as a guest and the priming water for the launch of HTP. Introducing a treasured original recording that allows you to experience the full show.
It is “October 19, 2000: Nagoya BOTTOM LINE performance” that is imbued with such a work. It is the best audience recording. The official visits to Japan at HTP were in 2002 and 2004, but prior to that, in 2000, a solo visit to Japan was realized with Joe’s “HOLY MAN”. Glenn was invited there, and a show that could be called “pre-HTP” was held. In our shop, we introduced the pattern in the masterpiece “OSAKA 2000 (Shades 1019)”, but this work is the second live album. Let’s look back on the schedule at that time.

・ October 18: Umeda HEAT BEAT ← * OSAKA 2000
・ October 19: Nagoya BOTTOM LINE ← ★ This work ★
・ October 21: Shibuya ON AIR EAST
・ October 22: Shibuya ON AIR EAST

Above, all 4 performances. “OSAKA 2000” was the first day performance that realized the co-starring of the century, but the Nagoya performance of this work was the stage of the second day following it. And this work that vacuum packed the site is a super vivid and powerful audience. Recently, it is one of the Nagoya-kei DAT masters that have been continuously excavated in our shop, but anyway, the core is very thick. You can feel the sense of space in the growth of vocals, but that’s about the audience. A blunt core like a rough rope is struck in front of you with a squeak, and it approaches with a force just before chattering. What’s even more wonderful is that even though it’s so powerful, the details aren’t crushed and it’s neatly arranged. The guitar, keyboard, and rhythm section are separated, and you can hear the touch and vivid clearly. It’s a closed room sound that looks like a small “THE BOTTOM LINE” space that is completely enclosed in two CDs.
The direct sound is a full show where both males stand side by side and inherit the tradition of DEEP PURPLE / RAINBOW. However, this tour is based on Joe’s solo performance, so the distribution is a little different from the later HTP. Let’s organize the contents here.

● Joe’s repertoire (11 songs)
・ Rainbow: Death Alley Driver / I Surrender / Street Of Dreams / Spotlight Kid
・ Purple: King Of Dreams
・ Solo: Holy Man / Anything / No Room For Love / No Salvation / Midnight In Tokyo / Too Blue To Sing The Blues
● Glen side repertoire (5 songs)
・ Purple: You Keep On Moving / Might Just Take Your Life / Burn
・ Sabas: No Stranger To Love
・ Solo: The State I’m In
● Others (1 song)
・ Smoke On The Water

It looks like this. Compared to HTP, where both were almost equal, Joe’s distribution was larger, but considering that Joe’s solo visit to Japan was originally, Glen’s song is also exceptional. Joe’s solo songs are “HURRY UP AND WAIT” only for “No Room For Love”, and all the rest are “HOLY MAN” numbers. In addition, the show composition was a style in which Glen Corner was sandwiched in the middle of Joe’s performance.
The old and new masterpieces are delicious, but the biggest point is the harmony of Glen & Joe’s voices. Basically, it turns into a chorus in the other party’s song, but this is the most delicious with a feature degree like one step before the duet. Joe’s “King Of Dreams” makes me want to delusion “If Glenn was in the 6th period purple …”, and “Holly Man” and “Street Of Dreams” are more than just choruses.
And the white eyebrows are “You Keep On Moving” and “Might Just Take Your Life”. In the former, Glen is basically the main, but Joe also has plenty of harmony, and some lead. At the end of the game, they even listen to the improvisational battle between vocals (I haven’t been able to do it yet, and it’s funny to misunderstand the timing of the change). And in “Might Just Take Your Life”, it is a twin style that will be completely reproduced in the third period. Of course, the final edition of “Burn” & “Smoke On The Water” is also a must-listen. Although the distribution and parts are different from Coverdale / Hughes, it is still a duet version in which the two sing. It tells us a wonderful song that can be called a trailer of HTP.
Joe Lynn Turner & Glenn Hughes, who sang the reproduction of the 3rd and 4th period purple, were even better in terms of voice quality compatibility. HTP was born because the performance in Japan in 2000 was wonderful. This work is a full live album that proves the sound. The Peach Blossom of classic rock, which is convinced not only by flexible Joe but also by stubborn Glen. Please enjoy the best original recording of the new excavation.

★ The best audience recording of “October 19, 2000: Nagoya BOTTOM LINE performance”. The sound digitized directly from the original DAT master has a slamming core that slams in front of you like a rough rope, and is approaching with a force just before chattering. Even though it is so powerful, the details are not crushed and it is neatly arranged, the guitar, keyboard and rhythm section are separated tightly, and you can hear the touch and vivid clearly. It is a closed room sound that is exactly like the narrow “THE BOTTOM LINE” space enclosed in a CD as it is. It is a live album where you can enjoy a full show with plenty of solo songs by both males while being the original form of HTP.