Judas Priest / Osaka 2001 / 2CDR

Judas Priest / Osaka 2001 / 2CDR / Shades

Translated Text:
Live at Koseinenkin Kaikan, Osaka, Japan 12th December 2001

Click Image To Enlarge

As a sequel to the masterpiece series, one of the best masterpieces is out. The series is the Osaka performance of the split Steel God. “OSAKA 1998 (Shades 767)” which was very popular, the third round following “OSAKA 2000 (Shades 837)” of HALFORD which will be released simultaneously this week. It is a super best audition album of the head family JUDAS PRIEST “December 12, 2001: Osaka Kosei Pension Center”.
These three works are all the same work of the recordingist, the same “Osaka Health Pension Center.” Especially, it is only one year from HALFORD’s “OSAKA 2000”, it is exactly one for fixed point observation of both men. First, let’s look back from the schedule of arrival in 2001, which was the second visit to Ripper PRIEST.

· December 10: Nakano Sanguraza
· December 11th: Nakano Sanguraza
· December 12: Osaka Health Pension Center 【this work】
· December 14: Nagoya Diamond Hall
· December 15th: ZEPP FUKUOKA

Over all, 5 shows. Ripper PRIEST visited Japan two times in 1998/2001 and HALFORD in 2000/2003, but only the “Osaka Health Pension Center” was the only live in all of these four tours.
What is such a masterpiece in this work? It’s fine, quality. This recording person was a person known as “that person” in Osaka from the 1990s to the beginning of the 2000s, its collection is only a tremendous high quality recording. Not to mention PRIEST’s previous work “OSAKA 1998”, of course, MEGADETH and IRON MAIDEN, Ozzie Osbourne, John Sykes, Yngwie Malmsteen, etc. have been rampaging numerous masterpieces. However, in its awesome collection, the sound of this work is missing. The core of a bone is sturdy anywhere, yet it is delicate. Ringing is glossy but glossy and delicate details of detailed details are displayed as a kitchen, there is no cloudiness or turbidity at all. Of course, the sense of distance to the stage and so on as well as direct feeling is perfect. It exceeds even the dimension of “sound board”, and it depicts the exquisite sound world which can only be called “as if it is an official”.
The show drawn with that sound is another wonderfulness of the official grade … or no more. As a matter of fact, there is also a genuine official work “LIVE IN LONDON” left from this tour, but even though the sound is a splendid official product, it is unfortunately not a suitable performance for it. Although it was not the case that there was another collapse, it was a sudden show which rushed in with intense jet lag, somehow lacked concentration ability “It was so so”. On the other hand, before the performance in Japan, I did Oceania Tour and there was no time difference, especially this work is perfect just in the field after Tokyo performance. It was in an environment where all the arrangements were complete and all of his skills were out.
Among them, the only thing to worry about is cheers. No, in a recording covered with screaming (not at all!), Rather, it is reverse. There is less audience / noise than the customer record is unbelievable. If it is normal, this will also be a beautiful point for audience recording, but the previous chef “OSAKA 1998” and HALFORD’s “OSAKA 2000”, the great cheers of enthusiasm that can not be held down even if you hold down are too tasty, She painted the real thrill of a guest book like a sample. On the contrary, this work is too much like a soundboard, and it sounds like an official work. I do not feel like listening to an audience recording.
I have no idea what I am praising or not, but it is certain that this work is the highest class / superlative super fine item. For those who value the audience sense of the site, it is a bit “Official grade too” sound, but for those who think this is a homework word it is an unmatched best masterpiece. It is a masterpiece that surpasses even the real official album “LIVE IN LONDON”. Ripper who later came to Japan together with Yngwie, his right is not neochlore, there is only Orthodox Metal, this work is its highest peak. It is a name recording that I drew with the extremely neat sound that I can not hope for that stage any more.
I do not know if the recording person of this work is also recording HALFORD of 2003 (I want it to be!) But it is good to collect fixed point observation with previous work “OSAKA 1998” and HALFORD’s “OSAKA 2000”, Ripper PRIEST It is also good to taste as the best masterpiece of. It is a high-quality gem that can be enjoyed in any way.

大傑作シリーズの続編にして、最高傑作たる1本が登場です。そのシリーズとは、分裂した鋼鉄神の大阪公演。大好評を賜った『OSAKA 1998(Shades 767)』、今週同時リリースとなるHALFORDの『OSAKA 2000(Shades 837)』に続く第3弾。本家JUDAS PRIESTの「2001年12月12日:大阪厚生年金会館」の超極上オーディエンス・アルバムです。
この3作はどれも同じ録音家の作品であり、同じ“大阪厚生年金会館”。特にHALFORDの『OSAKA 2000』とは1年しか離れておらず、まさに両雄の定点観測にもってこいの1本なのです。まずは、リッパーPRIEST2度目の来日となった2001年の来日スケジュールから振り返ってみましょう。

・12月12日:大阪厚生年金会館 【本作】

そんな本作の何が最高傑作なのか。それはズバリ、クオリティ。この録音家は90年代から2000年代初頭の大阪で“その人あり”と知られた人物で、そのコレクションは凄まじいハイクオリティ録音ばかり。PRIESTの前作『OSAKA 1998』はもちろんのこと、MEGADETHやIRON MAIDEN、オジー・オズボーン、ジョン・サイクス、イングヴェイ・マルムスティーンなど、無数の大傑作を連発しています。しかし、その凄コレクションにあって、本作のサウンドはズバ抜けている。骨太の芯はどこまでも逞しく、それでいて繊細。鳴りはどこまでも艶やかながら細やかなディテールの機微をキッチリと描き出し、曇りや濁りは一切ない。もちろん、ステージとの距離感などまるでなくダイレクト感も満点。「まるでサウンドボード」の次元さえも超え、「まるでオフィシャル」と呼ぶしかない絶品の音世界を描き出しているのです。
そのサウンドで描かれるショウがまた、オフィシャル級の素晴らしさ……いや、それ以上。実のところ、このツアーからは正真正銘のオフィシャル作品『LIVE IN LONDON』も残されているわけですが、サウンドは見事な公式品ではあっても残念ながらそれに相応しい名演ではなかった。別に破綻したところがあったわけではないのですが、激しい時差ボケのまま突入した突貫ショウであり、なんとなく集中力に欠け“まあまあ”の出来だったのです。それに対し、日本公演の前にはオセアニア・ツアーを行っていて時差もなく、特に本作は東京公演後だけに場慣れも完璧。すべてのお膳立てが揃い、実力のすべてを出し切れる環境にあったのです。
その中で唯一、気になるのは歓声でしょうか。いえ、絶叫にまみれた録音では(まったく!)なく、むしろ逆。客録とは信じがたいほどオーディエンス・ノイズが少ないのです。普通であれば、これはオーディエンス録音にとって美点にもなるのですが、前作『OSAKA 1998』やHALFORDの『OSAKA 2000』は、押さえても押さえきれない情熱の大歓声があまりにも美味であり、客録の醍醐味を見本のように描いてくれた。それに対し、本作はあまりにもサウンドボード的であり、オフィシャル作品風のサウンド。オーディエンス録音を聴いている気がしないのです。
なんだか褒めているのか、違うのか分からなくなってきましたが、本作が最高級/最上級の超極上品であることは間違いない。オーディエンスの現場感を大切にする方には少々“オフィシャル級すぎる”サウンドではありますが、これをホメ言葉と思う方には無類の最高傑作。本当の公式アルバム『LIVE IN LONDON』さえも凌駕する名盤です。後にイングヴェイとも来日したリッパーですが、彼の適正はネオクラではなく、正統派メタルにこそあり、本作はその最高峰。そのステージをこれ以上は望めない極上の端正サウンドで描ききった名録音です。
本作の録音家が2003年のHALFORDも録音しているかは分かりません(していて欲しい!)が、前作『OSAKA 1998』やHALFORDの『OSAKA 2000』と共に定点観測コレクションするも良し、リッパーPRIESTの最高傑作として味わうも良し。いかようにも楽しめるハイクオリティな逸品です。

Disc 1(54:17)
1. Intro. 2. Metal Gods 3. Heading Out To The Highway 4. A Touch Of Evil 5. Blood Stained
6. Victim Of Changes 7. One On One 8. The Ripper 9. Diamonds And Rust 10. Feed On Me ???
11. The Green Manalishi

Disc 2(55:29)
1. Beyond The Realms Of Death 2. Burn In Hell 3. Hell Is Home 4. Breaking The Law
5. You’ve Got Another Thing Comin’ 6. Painkiller 7. The Hellion / Electric Eye 8. United
9. Living After Midnight 10. Hell Bent For Leather

Tim “Ripper” Owens – vocals K. K. Downing – guitar Glenn Tipton – guitar
Ian Hill – bass guitar Scott Travis – drums

Shades 838

Leave a Reply

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