Judas Priest / Painkiller In Toronto / 1DVDR

Judas Priest / Painkiller In Toronto / 1DVDR / Non Label

Maple Leaf Gardens, Toronto, ON. Canada 22nd October 1990  NTSC

 

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A masterpiece video of the PAINKILLER Tour, where you can enjoy the extremely rare song “Between The Hammer & The Anvil”, is released as a gift. It is a song that only the audience is left with, and this work is the best quality. Of course, the real thrill of the full show is also the best.

JUDAS PRIEST in 1991, which ended the golden age with the super masterpiece “PAINKILLER”. A must-have and must-see video that you can enjoy the extremely rare songs will be released as a gift.
This work was filmed at the “October 22, 1990 Toronto performance”. It is the superb view audience shot. I’m curious about the keyword “super rare song” at the beginning, but before that, the position of the show. Let’s look back on the panoramic view of “PAINKILLER / OPERATION ROCK & ROLL Tour”, which was the last tour of Rob Halford, while raising the signal of the resurrection to the scene.

● 1990
《September 3rd release of “PAINKILLER”》
・ September 13: Participation in FONDATION FORUM
“PAINKILLER Tour”
・ October 18th-December 23rd: North America # 1 (49 performances) ← ★ Coco ★
● 1991
・ January 9-23: North America # 2 + South America (10 performances)
・ January 31-March 31: Europe (43 performances)
・ April 4-15: North America # 3 + Japan (7 performances)
“OPERATION ROCK & ROLL Tour”
・ July 9th-August 19th: North America # 4 (32 performances) ← * IRVINE 1991

This is the 1990/1991 steel god. The Toronto performance of this work is also the beginning of this. It was the third concert of “North America # 1”. This work shot at such a show is a must-see masterpiece that goes beyond the realm of “one live record”. There are different paths from fans to enthusiasts / collectors, but in the case of JUDAS PRIEST, this work has been known as a longmen that everyone must go through. From the stage where you were satisfied with the official stage to the stage where you can catch soundboards / pro shots, and then to the world of audience recording that is still lacking … It is one that opens the door.
I’m sorry to have suddenly started talking about something I don’t understand, but the point is “super rare song”. You can enjoy “Between The Hammer & The Anvil” without professional shots or sound boards. This is not limited to PRIEST, but even if it is a band that fixes the set, the beginning of the tour is a trial and error process. Rare performances of new songs that will not be played after that are likely to occur, and “Between The Hammer & The Anvil” of this work is one song that should be said to be a symbol of that.
Of course, this work is not a video for one song “Between The Hammer & The Anvil”. Even if it is full, it is full of charm of “PAINKILLER Tour”. In order to realize that, let’s organize the set while comparing it with the tour masterpiece “IRVINE 1991”.

● 70’s Classics (5 songs)
・ Wings of Destiny: The Ripper / Victim Of Changes (★)
・ Stained class: Beyond The Realms Of Death (★)
・ Killing Machine: Hell Bent for Leather / The Green Manalishi (With The Two Pronged Crown)
● Since the 1980s (11 songs)
・ British Steel: Grinder (★) / Metal Gods / Breaking The Law
・ Screaming for Vengeance: (The Hellion) Electric Eye / You’ve Got Another Thing Comin ’
・ Painkiller: All Guns Blazing / Between The Hammer & The Anvil (★★) / Night Crawler / Metal Meltdown (★★) / A Touch of Evil / Painkiller
* Note: The “★” mark is a song that was not seen in the masterpiece professional shot “IRVINE 1991”. In particular, “★★” is a song that does not have a professional shot.

… And it looks like this. Following “Between The Hammer & The Anvil”, the rare song “Metal Meltdown (sound board is left, but there is no professional shot)” also exploded, and a masterpiece selection that summarizes the history of glory. All of them are built up with Scott Travis’s bullet drumming, and are drawn with a heyday Rob’s shout, which is a different dimension than after the return.
Although I missed writing it because it was so wonderful, the quality of drawing the full show is also superb. It is a top-down shot on the right side of the stage (closer to Glenn Tipton), but maybe it is the front row of the stand seats, there is no shadow in the front row, and only the stage occupies the field of view. And the sense of stability is also great. Probably using a tripod, even if you follow the members with a bold and bold zoom, the dust will not shake. It’s as awesome as a professional shot / distant view angle. Besides, the master freshness is also outstanding. Although it is a historical video shoot, not only dubbing marks but even one white line noise can not be seen, and every corner is beautiful. It is a visual beauty that is not so common to the modern eyes of digital heyday.
Under such circumstances, it is video processing that makes us feel the times. In fact, image processing such as frame advance and highlighting is included here and there. Perhaps this was done by the photographer during the live. At that time, home videos that could also process images were popular, but I think they thought they were cool with their latest features. This is also very tasty. As a matter of fact, it has long been said that “disturbing processing” and “don’t do extra things”, but nowadays, it goes around and nostalgia oozes as “Oh, it’s like 90 years (laughs)”. ..

Anyway, the first step in the “PAINKILLER” era is decided by the symbolic professional shot “IRVINE 1991”. There is no other way. The question is what to do with the second step. The longest professional shot “PAINKILLER IN DETROIT” is mentioned as a standard, but we would like to recommend this work. Not to mention the super rare “Between The Hammer & The Anvil” and “Metal Meltdown”, the special seating experience is too wonderful because it is a superb view audience.
A masterpiece of audience footage that we would like you to prioritize over the long-standing classic Detroit and Rio performances. Please take this opportunity to thoroughly enjoy this piece of steel.

激レア曲「Between The Hammer & The Anvil」も楽しめるPAINKILLER Tourの名作映像がギフト・リリース。オーディエンスしか残されていない曲であり、本作こそがベスト・クオリティ。もちろんフルショウの醍醐味も最高です。

超傑作『PAINKILLER』で黄金時代を締めくくった1991年のJUDAS PRIEST。その激レア曲も楽しめる必携・必見映像がギフト・リリース決定です。
そんな本作が撮影されたのは「1990年10月22日トロント公演」。その絶景オーディエンス・ショットです。冒頭のキーワード「激レア曲」が気になるところですが、その前にまずはショウのポジション。シーンに復活の狼煙を上げつつ、ロブ・ハルフォード最後のツアーとなってしまった“PAINKILLER / OPERATION ROCK & ROLL Tour”の全景から振り返ってみましょう。

●1990年
《9月3日『PAINKILLER』発売》
・9月13日:FONDATION FORUM参加
“PAINKILLER Tour”
・10月18日-12月23日:北米#1(49公演)←★ココ★
●1991年
・1月9日-23日:北米#2+南米(10公演)
・1月31日-3月31日:欧州(43公演)
・4月4日-15日:北米#3+日本(7公演)
“OPERATION ROCK & ROLL Tour”
・7月9日-8月19日:北米#4(32公演)←※IRVINE 1991

これが1990年/1991年の鋼鉄神。本作のトロント公演は、この中で序盤も序盤。「北米#1」の3公演目に当たるコンサートでした。そんなショウで撮影された本作は「1つのライヴの記録」という域を超えた必見の名作。ファンからマニア/コレクターへの道程はひとそれぞれはありますが、JUDAS PRIESTの場合、本作は誰もが通らねばならない登竜門として知られてきました。オフィシャル段階で満足していた段階からサウンドボード/プロショットを漁る段階へ進み、そしてそれでも足りないオーディエンス記録の世界へ……その門戸を開く1枚なのです。
いきなりワケの分からない話を始めてしまって恐縮ですが、その要とは「激レア曲」。プロショットもサウンドボードも存在しない「Between The Hammer & The Anvil」が楽しめるのです。これはPRIESTに限らない話ですが、セットを固定するタイプのバンドであってもツアーの序盤はさまざまな試行錯誤を試すもの。その後は演奏されなくなる新曲のレア演奏も発生しやすく、本作の「Between The Hammer & The Anvil」は、その象徴とも言うべき1曲なのです。
もちろん、本作は「Between The Hammer & The Anvil」1曲のための映像ではありません。フルでも“PAINKILLER Tour”の魅力に溢れ返っている。それを実感していただくためにも、ツアー催行傑作である『IRVINE 1991』と比較しながらセットを整理してみましょう。

●70年代クラシックス(5曲)
・運命の翼:The Ripper/Victim Of Changes(★)
・ステンド・クラス:Beyond The Realms Of Death(★)
・殺人機械:Hell Bent for Leather/The Green Manalishi (With The Two Pronged Crown)
●80年代以降(11曲)
・ブリティッシュ・スティール:Grinder(★)/Metal Gods/Breaking The Law
・復讐の叫び:(The Hellion)Electric Eye/You’ve Got Another Thing Comin’
・ペインキラー:All Guns Blazing/Between The Hammer & The Anvil(★★)/Night Crawler/Metal Meltdown(★★)/A Touch of Evil/Painkiller
※注:「★」印は最高傑作プロショット『IRVINE 1991』で観られなかった曲。特に「★★」はプロショットが存在しない曲。

……と、このようになっています。「Between The Hammer & The Anvil」に次ぐレア曲「Metal Meltdown(サウンドボードは残されているものの、プロショットはない)」も炸裂し、さらに栄光の歴史を総括するような名曲選。そのすべてがスコット・トラヴィスの弾丸ドラミングでビルドアップされており、復帰後とは次元の異なる全盛ロブのシャウトで描かれていくのです。
あまりの素晴らしさに書き損じていましたが、そのフルショウを描くクオリティも超・絶景。ステージ右寄り(グレン・ティプトン寄り)の見下ろしショットなのですが、スタンド席最前列なのか、前列の影が一切入らず、ステージだけが視界を占領する特等席。そして、安定感も絶大。恐らく三脚を使っており、果敢で大胆なズームでメンバーを追っても微塵もブレない。まるでプロショットの中/遠景アングルのような凄まじさ。その上、マスター鮮度もバツグン。時代柄ビデオ撮影ではあるのですが、ダビング痕はおろか白線ノイズ1本すら見られず、隅々まで美麗。デジタル全盛の現代の眼にもそうそうない映像美なのです。
そんな中で時代を感じさせるのは映像処理。実は、ところどころでコマ送りやハイライトなどの画像加工が入るのです。恐らく、これはライヴ中に撮影者が行ったもの。当時、画像処理もできるホームビデオが流行りましたが、その最新機能でカッコ良くキメたつもりだったのでしょう。これがまた何とも味わい深い。実のところ、長らく「邪魔な処理」「余計なことするな」とも言われましたが、現在となっては一周して「おー、90年っぽい(笑)」と懐かしさが滲むのです。

とにもかくにも『PAINKILLER』時代の第一歩は象徴プロショット『IRVINE 1991』で決まり。それ以外にあり得ません。問題は、二歩目をどうするか。定番としては最長プロショット『PAINKILLER IN DETROIT』が挙げられるところですが、当店としてはあえて本作をお薦めしたい。激レア「Between The Hammer & The Anvil」「Metal Meltdown」は勿論のこと、絶景オーディエンスだからこその特等席体験が素晴らしすぎるのです。
長年の定番であったデトロイト公演やリオ公演のプロショットよりも優先していただきたいオーディエンス映像の名作。どうぞ、この機会にじっくりと味わっていただきたい鋼鉄の1枚です。

1. Intro.
2. Hell Bent For Leather
2. Grinder
3. The Hellion/Electric Eye
4. All Guns Blazing
5. Between The Hammer & The Anvil(★★)
6. Metal Gods
7. Night Crawler
8. The Ripper
9. Beyond The Realms Of Death
10. Metal Meltdown(★)
11. Drums Solo
12. A Touch Of Evil
13. Victim Of Changes
14. Painkiller
15. The Green Manalishi (With The Two Pronged Crown)
16. Breaking The Law
17. You’ve Got Another Thing Comin’

Rob Halford – Vocals K.K Downing – Guitar Glenn Tipton – Guitar
Ian Hill – Bass Scott Travis – Drums

COLOUR NTSC Approx. 93min.

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