Metallica / Osaka 2003 / 2CDR

Metallica / Osaka 2003 / 2CDR / Uxbridge
Live At Osaka Jo Hall, Osaka, Japan 13th November 2003.

Play sample :

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METALLICA in 2003 who returned to Japan after overcoming the crisis of dissolution. The masterpiece live album which recorded the scene is appearance.
Such “Nov. 13, 2003: Osaka Castle Hall” performances are included in such a work. It is the best audience recording. Speaking of them after revival, the official download of has become common, but in 2003 before its establishment. It is a live album of the era when underground recording was still important. First of all, let’s check the show’s position in the revisited schedule beyond the five and a half blanks which was the longest at that time.

・ November 6th + 7th: National Yoyogi Stadium
・ November 9: Makomanai Ice Arena
・ November 11: Saitama Super Arena
・ November 13: Osaka Castle Hall [This work] ・ November 14: Nagoya Rainbow Hall

Above, all 6 performances. Toured huge venues in various places despite five and a half years. The Osaka performance of this work was the concert that hits the final stage. This work which recorded such a show is a very clear and realistic audience recording. It is not a de-contact type that makes a mistake with the sound board, but on the contrary, it is unbelievable that the clear recording is across the space. The core that arrives straight is endless, and the clear air detailing is also super clear. While the guitar riffs rushed in, the each one was clear to the vive. Of course, the vocals are squeezed up to every word of the lyrics, and the basdra’s smash hit is also a texture level until one strike. Although the sound is definitely an audience recording, the vividness is a name recording that goes beyond the common sense of the customer record.
What’s even more great is audience noise. The huge cheers rejoicing in the resurrection of the monster are inscribed in ultra-realism, but it is terribly neat. In the intro of “Harvester Of Sorrow”, the voice of “Hey! Hey!” Shakes the huge space of Osaka Castle, and even in the song, it seems like a mountain range that swells suddenly and so on, it is a super spectacle. Nevertheless, there is little immediate cheering or screaming, and it does not interfere with performance or singing at all. A collection of innumerable roars and screams turned into fine particles, which became a big swell. Slash metal twists and squeezes the huge and delicate mass. The combination of this sense of scale and sound quality is miraculous. No matter how emits the soundboard sound source, this spectacle can not be tasted unless it is an audience recording. It is only a super-super guy. This work is a well-known recording that lets you fully enjoy the taste of such customer records.
What is drawn with such a sound is a large heat performance of the monster METALLICA that raised the smoke of the resurrection. At that time, it was a revival that overcame the crisis depicted in the movie “SOME KIND OF MONSTER”, but it was not alone. They have pursued the feeling of weight of groove and mid tempo, since they have been hit in the historical place of “BLACK ALBUM”. I don’t know how long I was kidding at one time, but the days of “Let’s change the name to Rocktalica” continued for a long and long time. However, it turned around with this 2003 year, and returned to “fast metal”. He gave me plenty of metal shows that had a sense of aggression and recklessness. The attitude is clear from the set. That’s all self-sponsored self-sponsored “LOAD” “RELOAD” numbers completely excluded (only “Fuel” was taken up in the other performances), and “BLACK ALBUM” + new songs are pushed. The feeling of running to the freshness is very comfortable.
The “ST. ANGER” number is also valuable. METALLICA does not seal only the type of bands that affirm all carriers, but still very rarely plays. However, in this work, just after the release, three songs “Frantic”, “The Unnamed Feeling” and “St. Anger” are shown. Especially valuable is “The Unnamed Feeling”. There is no revival of later years, and this song is a rare number with only a dozen performances even at that time. And more than that is the cover “Commando” of RAMONES. It is a very rare number that is played only enough to count with one hand until now, and of course only in Japan in this day. You can enjoy it with the best sound.
Also, in addition to the set, there is plenty of realistic listening to this work. For example, “Harvester Of Sorrow” in the early stage. The super-heavy sound pushes in the middle, and PA suddenly blows up on the way. The guitar is completely dead, and the song goes on with drum swell and drumming. Although it will recover in less than 30 seconds, METALLICA will not move as if nothing happened, but the venue will be upset by sudden events. The mood can also be experienced in a very real way. Contrary to the trouble, it’s a happy surprise after the show. The enthusiastic performance in response to the three encores also ends with “Breadfan”, but the members have appeared for the fourth time in the audience that is still exciting. I do not play the music as expected, but each one holds a microphone and greets. This is the first time in five and a half years. Spectators waited for METALLICA’s revisit, and the words “Arigato” and “I’ll be back soon!” Are also hot. This work is the best recording that even one word to one can taste super clear.
Currently, 16 years from the scene of this work. The last visit to Japan was 2013, and a six-year date beyond this work has passed. Moreover, the next visit to Japan has not been made until now. Unlike SLAYER, I do not give up on retirement, so I believe I will come again, but I have been waiting for a long and long time. That’s why it is necessary to imagine the next visit to Japan for the joy flowing out of this work. Yes, this work is not only a masterpiece of a live album, but it’s a book that’s just about it now. Please enjoy it carefully.

★ wonderful live document record of 2003! !


・11月13日:大阪城ホール 【本作】

さらに素晴らしいのがオーディエンス・ノイズ。怪物の復活に歓喜する大歓声が超リアルに刻まれているのですが、それが物凄く端正。「Harvester Of Sorrow」のイントロでは「Hey! hey!」のかけ声が大阪城の巨大空間を揺るがし、曲中でも突如として盛り上がる山脈のようなどよめきも超スペクタクル。それにも関わらず、間近な声援や絶叫はほとんどなく、演奏や歌声をまったく邪魔しない。無数のかけ声や叫びが微粒子となった集まり、それが大きなうねりとなる。その巨大で繊細な塊をスラッシュ・メタルがねじ伏せ、切り刻む……。このスケール感とサウンド・クオリティの両立は奇跡的。いかにlivemetallica.comがサウンドボード音源を排出しようとも、このスペクタクルはオーディエンス録音でなければ、決して味わえない。それも超極上のやつでしか。本作は、そんな客録の醍醐味を存分に味わわせてくれる名録音なのです。
そんなサウンドで描かれるのは、復活の狼煙を上げた怪物METALLICAの大熱演。当時は映画『SOME KIND OF MONSTER』にも描かれた危機を乗り越えての復活だったわけですが、それだけでもなかった。彼らは『BLACK ALBUM』の歴史的代ヒット以降、ひたすらグルーヴとミッドテンポの重量感を追究。一時はどこまで冗談だったのか分かりませんが「ロックタリカに改名しようか」とまでのたまう時代が長く長く続きました。しかし、それもこの2003年を契機に一転し、“速いメタル”に回帰。アグレッションと爆走感覚を取り戻したメタル・ショウをたっぷりとブチまけてくれたのです。その姿勢はセットからも明らか。あれほど自画自賛していた『LOAD』『RELOAD』ナンバーを完全排除(他公演では「Fuel」のみ取り上げられました)し、『BLACK ALBUM』以前+新曲で押しまくる。その清々しいまでの疾走感がえらく心地良いのです。
その『ST. ANGER』ナンバーも貴重。METALLICAはオール・キャリアを肯定するタイプのバンドだけに現在でも封印はしないものの、それでも演奏するのは極々希。しかし、本作ではリリース直後だけに「Frantic」「The Unnamed Feeling」「St. Anger」の3曲を披露しているのです。中でも特に貴重なのは「The Unnamed Feeling」。この曲だけは後年の復活もなく、当時でも十数公演のみというレア・ナンバーです。そして、それ以上となるのがRAMONESのカバー「Commando」。それこそ現在に至るまで片手で数えられるほどしか演奏していない激レア・ナンバーであり、もちろん日本ではこの日のみ。それを極上サウンドで楽しめるわけです。
また、セット以外にも本作にはリアルな聴きどころかがたっぷり。例えば、序盤の「Harvester Of Sorrow」。超重サウンドがミッドでグイグイと押してゆくのですが、その途中で突然PAがぶっ飛ぶ。ギターが完全に死に、かろうじてベースのうねりとドラミングで曲が進む。30秒弱で回復するのですが、METALLICA自身は何事もなかったように動じない一方、会場は突然の出来事に騒然となる。そのムードも超リアルに体験できるのです。トラブルとは逆に嬉しいサプライズなのが終演後。3度のアンコールに応える熱演も「Breadfan」で終わるのですが、それでも盛り上がり続ける観客にメンバーは4度目の登場。さすがに曲は演奏しませんが、1人ひとりがマイクを執って挨拶するのです。これこそ、5年半ぶりの現場。観客たちはMETALLICAの再訪を待ちわび、そのブランクをものともしない歓待に感激したメンバーの「アリガトウ」「すぐ戻ってくるぞ!」の言葉も熱い。本作は、その一言一言までもが超クリアに味わえる極上録音なのです。


Disc 1(67:46)
1. Ecstasy Of Gold 2. Blackened 3. The Four Horsemen 4. Harvester Of Sorrow ★PAが飛ぶ(2:15-2:41)
5. Sanitarium (Sanitarium) 6. Robert Trujillo Bass Solo 7. For Whom The Bell Tolls
8. Frantic 9. Sad But True 10. The Unnamed Feeling 11. Seek And Destroy

Disc 2(70:35)
1. One 2. Battery
Encore 1
3. St. Anger 4. Nothing Else Matters 5. Master Of Puppets
Encore 2
6. Creeping Death 7. Enter Sandman
Encore 3
8. Commando ラモーンズカバー 9. Breadfan

James Hetfield – Guitar, Vocal Lars Ulrich – Drums Kirk Hammett – Guitar
Robert Trujillo – Bass
Shades 1043

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