Metallica / Nagoya 1993 / 2CD

Metallica / Nagoya 1993 / 2CD / Zodiac

Live at Century Hall, Nagoya, Japan 23rd March 1993 STEREO SBD

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METALLICA in 1993, became the biggest monster in the history of heavy metal in “BLACK ALBUM”. A new excavation master of the legendary sound board that recorded the live-in Japan of such a great heyday is appearing.
刻 The piece engraved in this work is “March 23, 1993: Nagoya Century Hall Performance”. This is a super-high quality stereo sound board recording. METALLICA during the “BLACK ALBUM” era has been conducting a long-lasting world tour for a full three years, during which he came to Japan twice. Here, let’s confirm the title position from the schedule.

・ December 31: Tokyo Dome
・ March 16: National Yoyogi Stadium
・ March 17: Yoyogi National Stadium
・ March 18: Yokohama Arena
・ March 21: Fukuoka Sun Palace
・ March 22: Osaka Castle Hall
・ March 23: Nagoya Century Hall ← ★ This work ★

This is the whole performance in Japan during the “BLACK ALBUM” era. The Nagoya performance of this work was a concert on the last day. This show is also known for having a superb outflow sound board, and the prestigious Bondage label “BLACKEN‘ EM ALL ”has long been a favorite of collectors for many years. This work is also a new master that renews the highest peak while Omoto is the same leaked sound board.
語 Before we talk about that update, let’s start with Ichi for those who don’t know BLACKEN ‘EM ALL. This sound board is just super fine. It is not a type arranged like an official board or FM broadcast, but a direct connection from a mix desk. For this reason, the loud cheers are also far away, and there is no processing to reproduce the atmosphere of the concert. It’s just a type of gorgeous performance sound and vocals that flow out of it.
And this is intense again. At that time, METALLICA was pursuing heavyness and spectacle, and all official shows and broadcasts, including “LIVE SHIT: BINGE & PURGE”, were finished “heavy” and “dynamic”. That’s good, but this work is completely different, and the edge of the muscles is amazing. Each of the riffs is sharp and crisp, and the base is also blissful and the drums are super hard, even to the bass drum. Obviously the sound is more “metal” than “heavy”. At that time, it was said that it became “something null”, but that was just the result of the sound creation, and the performance itself still had a slashy edge. It is a board.
So how does this work transcend such a legendary sound board? As a matter of fact, the quality and texture itself is almost the same as the traditional board “BLACKEN‘ EM ALL ”just for the leaked sound board, but the point is that it is seamless. In “BLACKEN‘ EM ALL “, there was a drop in sound at the beginning of” Harvester Of Sorrow “,” Seek And Destroy “and” Last Caress “(although it was a momentary level that you would not notice if you listened to it normally). However, this new excavation master does not have that sound drop at all. I can’t say for sure because the details of the spill were unknown, but maybe “BLACKEN‘ EM ALL “had a poor contact with the equipment at some stage of duplication. This work is a perfect master that seems to be the previous stage.
シ ョ The show drawn with such super sharp and perfect sound is just heavy metal paradise. The set conforms to the performance of “LIVE SHIT: BINGE & PURGE” in Mexico City, but is more compressed and special. Here, let’s organize the contents.

・ KILL ‘EM ALL: Seek And Destroy / Whiplash
・ RIDE THE LIGHTNING: Creeping Death / For Whom The Bell Tolls / Fade To Black
・ MASTER OF PUPPETS: Welcome Home (Sanitarium) / Master Of Puppets
・ … AND JUSTICE FOR ALL: Harvester Of Sorrow / Justice Medley / One
・ BLACK ALBUM: Sad But True / Wherever I May Roam / Of Wolf And Man / The Unforgiven / Nothing Else Matters
・ Cover: Am I Evil? / Last Caress

… and it looks like this. Although the show itself was tighter than the Mexican performance, there was no bass & guitar solo or “Through the Never” “Enter Sandman”, and the recording ended in the middle of “One” (this is Recording omission is the same as the previous one). To be honest, it’s an imperfect board, but it’s strange because it doesn’t seem like a drawback when you actually listen to it. If you remember “LIVE SHIT: BINGE & PURGE” again, you will realize that METALLICA’s show at that time was long. Especially in the middle of the show, bass and guitar solos have been played for almost 20 minutes even in LIVE SHIT: BINGE & PURGE, so you may have inadvertently skipped it. This work does not have such a part. It is a live album where aggressive performances are played out one after another without delay, and the metallic edges keep exploding from beginning to end, coupled with the intensely sharp sound.

MET METALLICA has become the biggest monster in the history of HR / HM crowded with heroes. In today’s transformed music scene, there will no longer be more than them. This work is a live album that can be enjoyed with a transcendental line sound for a performance in Japan when such eternal dignity was decided. A legendary soundboard master that has never been upgraded. Please enjoy the press 2CD as much as you want!

『BLACK ALBUM』でヘヴィメタル史上並ぶもののない史上最大の怪物となった1993年のMETALLICA。そんな一大全盛期のライヴ・イン・ジャパンを記録した伝説サウンドボードの新発掘マスターが登場です。
そんな本作に刻まれているのは「1993年3月23日:名古屋センチュリーホール公演」。その超極上ステレオ・サウンドボード録音です。『BLACK ALBUM』時代のMETALLICAは、丸3年に及ぶ長大なワールド・ツアーを行っており、その最中に二度来日。ここで、その日程の中から称のポジションを確かめてみましょう。

・3月23日:名古屋センチュリーホール ←★本作★

これが『BLACK ALBUM』時代の全来日公演。本作の名古屋公演はその最終日にあたるコンサートでした。このショウは従来から極上の流出サウンドボードが残されている事でも知られ、特に名門Bondageレーベルの『BLACKEN ‘EM ALL』は長年コレクターの愛蔵盤となってきました。本作もまた大元は同じ流出サウンドボードでありつつ、その最高峰を更新する新マスターなのです。
その更新ぶりを語る前に、『BLACKEN ‘EM ALL』をご存じない方のためにもイチから始めましょう。このサウンドボードは、まさに超極上。公式盤やFM放送のように整えられたタイプではなく、ミックス卓からの直結系。そのため、大歓声も激しく遠く、コンサートの雰囲気を再現するような加工もゼロ。ただひたすらゴリッゴリの演奏音とヴォーカルが流れ出すタイプです(「One」オープニングのSEなど、とんでもなく豪快なステレオ感です)。
そして、これがまた強烈極まりない。当時のMETALLICAはヘヴィネスとスペクタクルを追究しており、『LIVE SHIT: BINGE & PURGE』を始めとしてあらゆる公式ライヴも放送も「重く」「ダイナミック」に仕上げられていました。それはそれで良いものの、本作はそれとはまったく異なり、ムキ出しのエッジが凄い。リフの1つひとつがギャリギャリ・ガリガリと尖っており、ベースもブリブリとえらく鋭角的ならドラムもバスドラまで超硬質。明らかに「ヘヴィ」よりも「メタル」な金属サウンドなのです。当時は「なんかヌルくなった」とも言われたものですが、それはあくまで音作りの結果であって、演奏そのものは相変わらずスラッシーなエッジが効いていた……そんな事実を突きつけてくるシャープな極上サウンドボードなのです。
では、本作はそんな伝説サウンドボードをどのように超越しているのか? 実のところ、流出サウンドボードだけにクオリティや質感自体は伝統盤『BLACKEN ‘EM ALL』とほとんど変わらないのですが、ポイントはシームレスであること。『BLACKEN ‘EM ALL』では(普通に聴いていると気づかない瞬間レベルではあるものの)「Harvester Of Sorrow」や「Seek And Destroy」「Last Caress」の冒頭に音落ちがありました。ところが、今回の新発掘マスターにはその音落ちが一切ない。流出の経緯が不明なために断言は出来ませんが、恐らく『BLACKEN ‘EM ALL』はどこかの複製段階で機材に接触不良が発生したのではないでしょうか。本作はその前段階と思われるパーフェクト・マスターなのです。
そんな超シャープ&パーフェクトなサウンドで描かれるショウは、まさに重金属パラダイス。セットは『LIVE SHIT: BINGE & PURGE』のメキシコ・シティ公演に準じるものの、さらに圧縮したような特濃ぶり。ここで、その内容を整理してみましょう。

・KILL ‘EM ALL:Seek And Destroy/Whiplash
・RIDE THE LIGHTNING:Creeping Death/For Whom The Bell Tolls/Fade To Black
・MASTER OF PUPPETS:Welcome Home (Sanitarium)/Master Of Puppets
・…AND JUSTICE FOR ALL:Harvester Of Sorrow/Justice Medley/One
・BLACK ALBUM:Sad But True/Wherever I May Roam/Of Wolf And Man/The Unforgiven/Nothing Else Matters
・カバー:Am I Evil?/Last Caress

……と、このようになっています。ショウ自体がメキシコ公演よりもタイトにまとまっていましたが、さらにベース&ギター・ソロや「Through the Never」「Enter Sandman」がなく、「One」の途中で録音が終了してしまいます(これは録音漏れであり、既発と同じです)。正直言って不完全盤ではあるのですが、実際に聴いているとあながち欠点にも思えないから不思議。これまた『LIVE SHIT: BINGE & PURGE』を思い出すと実感していただけると思いますが、当時のMETALLICAのショウはとにかく長い。特にショウ中盤のベース&ギターソロは『LIVE SHIT: BINGE & PURGE』でも20分近く延々と弾いており、思わずスキップした経験があるのではないでしょうか。本作は、そうしたパートがない。アグレッシヴな演奏が間延びする事なく次々と繰り出され、激シャープなサウンドと相まって終始メタリックなエッジが炸裂し続けるライヴアルバムなのです。


Disc 1(61:55)
1. The Ecstasy Of Gold
2. Creeping Death
3. Harvester Of Sorrow
4. Welcome Home (Sanitarium)
5. Sad But True
6. Wherever I May Roam
7. Of Wolf And Man
8. The Unforgiven
9. Justice Medley

Disc 2(57:57)
1. For Whom The Bell Tolls
2. Fade To Black
3. Master Of Puppets
4. Seek And Destroy
5. Whiplash
6. Nothing Else Matters
7. Am I Evil?
8. Last Caress
9. One


James Hetfield – Guitar, Vocal Lars Ulrich – Drums Kirk Hammett – Guitar
Jason Newsted – Bass



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