McAuley Schenker Group / Budokan 1988 2nd Night / 1CDR

McAuley Schenker Group / Budokan 1988 2nd Night / 1CDR / Shades

Translated Text:
Live at Budokan, Tokyo, Japan 16th February 1988

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McAULEY SCHENKER GROUP’s premium class live album that has been realized only once appears. It is included in this work “February 16, 1988: Nippon Budokan” performance. Speaking of “Macquarie + Nippon Budokan”, the best album of Kinney recording “BUDOKAN 1988 1ST NIGHT (Zodiac 190)” comes up, but this work is completely different live. First of all, let’s check the position of the show from the tour schedule of the time.

· February 5: Sapporo Health Pension Center
· February 8th + 9th: Osaka Festival Hall
· February 11: Nagoya City Auditorium
· February 13: Moriyama citizen hall in Kyoto
· February 14: Shizuoka Citizens’ Culture Center
· February 15: Nippon Budokan “BUDOKAN 1988 1ST NIGHT”
· February 16: Nippon Budokan 【this work】
· February 18: Fukuoka Sun Palace
· February 19: Kurashiki City Hall
· February 21: Nagoya City Auditorium
· February 22: Kyoto Hall

Over all, 12 performances. There was also a new project for the first time in four years from the legendary “SUPER ROCK 84”, but a pretty large tour was organized. Among them, Nippon Budokan 2DAYS is a highlight performance. This work is the 2nd performance show.
Such a work is such a wonderful audience sound. As expected, “BUDOKAN 1988 1ST NIGHT” which is fully opened by Kiny · Magic is one step by clear but it is more excellent than ordinary standards. Directly made CD master of the master who gave away from the recordingist himself, but the direct feeling is wonderful more than anything. Although it did not convey to detailed recording position, the venue sound is hardly felt, the sound exhaled from the PA jumps in with a stinky appearance. In audience recording, it is brilliant without basses and baskets that tend to be weak points, and one particle per base is clear from the nuances of picking to rich vibes. More surprising is guitar sound. Although it was a rare twin guitar system in Michael’s career, the glossy V sound and the fast playing guitar of Mitch Perry are separated vividly, and it is not mixed at all. Speaking of customer record, it sounds like a bass dora …… It is a sound that separates such a dimension of audience.
It is the world of McAULEY SCHENKER GROUP, the only one that is drawn with that sound. What I want to pay attention to is singing voice of Robin · Macquarie. At that time I was disappointed with the brain’s weathery hairstyle and action Gokkari (Encore said “It’s more exciting than last night! It is a lot more noise!” But I was sure I could not convince her of the first day, I wonder:) However, if it is a live album without such “looks”, the sophistication of the song will shine especially. “PERFECT TIMING” number is on the album, but the delicious is the original MSG or UFO number. Slightly scrubbed wet voice is fit for crying, yet plenty of room to spare. It is delicious that it is not somewhat different from Gary Barden and it has a distinctive sad feeling in singing. In 2012, I sang the SCORPIONS number to Klaus Meine, and recently MICHAEL SCHENKER FEST let me hear the preeminence of the preeminent but from the time I was also clever.
And guitar. Anyway Michael cries crying. After restart MSG in the mid 90’s, the percentage of beauty melodies started to disappear, but it is still fully open here. To be honest, nowadays I’m stained with the habit of listening to new songs while searching for crying melodies, but beauty melodies jump in without searching for McAuley SCHENKER GROUP. Moreover, it is increasing significantly in the live. Of course, we can listen to plenty of Gibson sounds that will not come true even if we want it now.
Mitch Perry. As mentioned above, this time it was a twin system, but the contrast between Mitch’s technical guitar and Michael’s crying is surprisingly cool, and it is becoming the real pleasure and dynamism that can not be tasted elsewhere. Besides, he sings well, Macquarie, Bodo Shohhoff and three people’s vocal work is as DOKKEN. Whether it is a guitar or a vocalist, the group of super masterpieces of the initial MSG is gorgeously revived gorgeously.
In the venue full of excitement, the final announcement “Over all, the performance of today was all over, thank you very much for coming to our booth today, thank you very much for your visit …. everyone … everyone …” and complete the recording and close the curtain This work. Although it was an era when only popping remained in the impression, there was a famous song group which was reborn luxuriously on that stage, and Gibson V which cried unchanged. This work is proof of that sound. MICHAEL SCHENKER FEST ‘s new work has revived collaboration with Macquarie, so it is often noticed. This work is a masterpiece that clears up the regret that did not officially leave the electric live album with the famous board “BUDOKAN 1988 1ST NIGHT” of the kiny recording.

ただ一度だけ実現したMcAULEY SCHENKER GROUPの特級ライヴアルバムが登場です。本作に収められているのは「1988年2月16日:日本武道館」公演。“マッコーリー+日本武道館”と言えば、キニー録音の極上盤『BUDOKAN 1988 1ST NIGHT(Zodiac 190)』が浮かびますが、本作はまったくの別ライヴ。まずは、当時のツアー日程からショウのポジションを確認してみましょう。

・2月15日:日本武道館『BUDOKAN 1988 1ST NIGHT』
・2月16日:日本武道館 【本作】

以上、全12公演。伝説の“SUPER ROCK 84”から4年ぶりの新プロジェクトということもあってか、かなり大規模なツアーが組まれました。 その中でも日本武道館2DAYSはハイライト公演。本作は、その2公演目にあたるのです。
そんな本作は、実に素晴らしいオーディエンス・サウンド。さすがにキニー・マジック全開の『BUDOKAN 1988 1ST NIGHT』にはクリアさで一歩譲るものの、普通の基準なら十二分に極上。録音家本人から譲られたマスターをダイレクトにCD化したのですが、何よりも素晴らしいのはダイレクト感。詳しい録音ポジションまでは伝わっていないのですが、会場音響がほとんど感じられず、PAから吐き出されるサウンドがムキ出しのまま飛び込んでくる。オーディエンス録音では弱点になりがちな低音も籠もらず鮮やかで、ベースの1粒1粒はピッキングのニュアンスから豊かなヴァイヴまで鮮明。それ以上に驚きなのはギター・サウンド。マイケルのキャリアでは珍しいツインギター体制だったわけですが、艶やかなVサウンドとミッチ・ペリーの速弾きギターが対比も鮮やかに分離しており、一切混じり合わない。客録っぽさと言えばバスドラの鳴りくらい……そんな次元のオーディエンス離れしたサウンドなのです。
そのサウンドで描かれるのは、唯一無二のMcAULEY SCHENKER GROUPの世界。やはり注目したいのはロビン・マッコーリーの歌声。当時は脳天気な髪型とアクションで盛大にガッカリ(アンコールで「昨夜より盛り上がってくれ!もっとノイズを!」としきりに煽りますが、初日のノリに納得できなかったんでしょうか:苦笑)させてくれましたが、そうした“見た目”抜きのライヴアルバムだと、歌の巧さが殊更輝く。『PERFECT TIMING』ナンバーはアルバム通りではありますが、美味しいのはオリジナルMSGやUFOナンバー。やや擦れたウェット・ヴォイスは泣きにフィットしていて、それでいて余裕もたっぷり。単にゲイリー・バーデンと比べてどうこうではなく、歌い回しに独特の哀感を込めているのが美味しいのです。2012年にはクラウス・マイネばりにSCORPIONSナンバーを歌ったり、最近のMICHAEL SCHENKER FESTでもバツグンの巧さを聴かせてくれましたが、当時からやはり巧かった。
そして、ギター。とにかくマイケルが泣きに泣く。90年代中期の再始動MSG以降、美旋律の割合に陰りも見え始めましたが、ここではまだまだ全開。正直なところ、現在では泣きメロを探しながら新曲を聴く習慣が染みついてしまいましたが、McAULEY SCHENKER GROUPは探さずとも美旋律が飛び込んでくる。しかも、ライヴではそれが大幅に増量している。もちろん、現在では望んでも叶わないギブソン・サウンドもたっぷりと聴かせてくれるのです。
盛大に盛り上がる会場の中、終演アナウンス「以上をもちまして、本日の公演はすべて終了いたしました。本日はお寒い中、ご来場いただきまして誠にありがとうございました。どうぞ皆さま……」まで完全収録して幕を閉じる本作。ポップさばかりが印象に残っている時代でしたが、そのステージには豪華に生まれ変わった名曲群と、変わらず泣きじゃくるギブソンVがありました。本作は、その音の証拠。MICHAEL SCHENKER FESTの新作でマッコーリーとのコラボレーションが復活した今だからこそ、気付かされることも多い。本作はキニー録音の大名盤『BUDOKAN 1988 1ST NIGHT』と共に、公式にエレクトリックなライヴアルバムを残してくれなかった悔しさを晴らしてくれる傑作なのです。

1. Intro. 2. Armed And Ready 3. Cry For The Nations 4. Get Out 5. Gimme Your Love
6. On And On 7. Love Is Not A Game 8. Follow The Night 9. Into The Arena 10. Courvoisier Concerto
11. Lost Horizons 12. Mitch Perry Guitar Solo 13. No Time For Losers 14. Doctor Doctor
15. Rock ‘Til You’re Crazy 16. MC 17. Rock Bottom

Michael Schenker – Guitar Robin McAuley – Vocals Mitch Perry – Guitar, Vocal
Rocky Newton – Bass, Vocal Bodo Schopf – Drums

Shades 841

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