Queen / Definitive Osaka 1985 / 2CD

Queen / Definitive Osaka 1985 / 2CD / Wardour
Live at Osaka-Jo Hall, Osaka, Japan 15th May 1985

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QUEEN The legendary famous masterpiece that recorded the last Japanese performance brush up. One shining at the top of the whole world and all carriers has appeared after updating the highest peak.
That “top board” is “May 15, 1985: Osakajo Hall” performance. QUEEN This is the ultimate audience recording which was the last day of the Japan tour which will be the 6th time and recorded the last Japan stage of genuine Freddie. This week, this ultimate live album is released at the same time from this last visit to Japan. Let’s organize the vertices of each day here.

· May 8th: Nippon Budokan
· May 9th: Nippon Budokan
· May 11: National Yoyogi Stadium
· May 13: Aichi Gymnasium
· May 15th: Osakajo Hall 【this work】
(Note: only for masterpiece of press on each day)

Over all, 5 shows. It is exactly what DEFINITIVE collections are lining up, but this work is one too special one among them. Anyway, it is the last live in Japan left by Freddie, but the sound quality is more than that. I wrote “simultaneous release of” DEFINITIVE BUDOKAN 1985 2ND NIGHT (Wardour-154) “commentary” I contend 1 or 2 “, but this rival is his work. Loved as “LAST CONCERT IN JAPAN” for many years, it is master who has been called “the No.1 of all audiences recording” majestically at the sound source site abroad.
To tell the truth, both works are wonderfully different from each other, just like a story of a dimension such as “Hiroko Yakushimaru and Tomoyo Harada are both cute?” However, the personality is clearly different, and “DEFINITIVE BUDOKAN 1985 2ND NIGHT” can taste the spectacular of the expanding Freddie’s singing voice, but this work is completely tight-fitting. It is the type of ringing that is the soundboard type, you can feel four people on the immediate side. A huge big cheer can be felt on the “far side” of extreme performance, and if you listen without knowing anything, it is a superb superb sound that makes you feel like an FM broadcast or an official live album.
This work digitizes such supernatural recordings from the original master and is the highest peak in the highest peak honed with the meticulous remastering of the 2018 standard. Of course, the whole sound has been thoroughly reworked, but the biggest point of attention is completely overlooked the disadvantages that have been overlooked (or say, the point that the basics were too great to be considered a fault) It repaired. One is a stereo feeling. If you have a conventional board, you’d definitely want to hear it with headphones. From the middle stage of the show “Is this the World We Created?” To the final stage “Radio Ga Ga”, I think that you will notice that you are closer to the right channel. This is as it was recorded in the master cassette, but this work correctly restores the balance. I made it to finish soaked in a full show with a natural stereo feeling.
The other is a missing part. In the original cassette, “Radio Ga Ga” midfield was missing, and there was no recording even after “I Want To Break Free” middle stage. Although this part was supplemented with another sound source even in the conventional board, this work is redoed from the first place. While it was connected only with the previous episode, this work seamlessly connects thoroughly from sound texture to stereo feeling. Until now I felt “Oh, my master changed in Coco”, but this work has been finished “I changed things in a while” even if I am paying attention with headphones.
This gapless unity sense is really wonderful. To tell the truth, in Osaka, which was also the last day of the World Tour, Freddie’s voice is rough and it does not reach the best “DEFINITIVE BUDOKAN 1985 2ND NIGHT”. However, in a word, one voice was last in Japan. Listen carefully to their breath, passionate performances, soak in them thoroughly … When you look at the role of such books, the sound without gaps that is the source of excitement is supreme.
And, because the content is also the last show. Of course, I thought that Freddie of the time was not the last Japan, but since it is the last day, there is enthusiasm that squeezes not thinking about tomorrow, and play is included everywhere. In the piano · Impro in front of “Killer Queen”, a passage of “My Fairly King” and “March Of Black Queen” is shown, and a passage of “Whole Lotta Shakin ‘Going” jumps out in “Jailhouse Rock”. In addition, Elton John’s “Saturday Night’s Allright For Fighting” as a “Bohemian Rhapsody” intro is almost fully played for 3 / 1.5 minutes. The spirit and liberation of the thousand akakura that has survived the world tour is full.

QUEEN who finished “THE WORKS TOUR” at this show returned to the country, the next stage is that LIVE AID. And none of the “four people” gathered to step on the land of Japan again.
Yes, the engraved in this work is Osaka night which is too special for QUEEN for Japan. Ultra · decision board which can be immersed with transcendence quality asserted as “all No. 1 of audiences recording” all over the place. Please, please permanently save with permanent preservation press 2CD anytime, forever.


・5月15日:大阪城ホール 【本作】

以上、全5公演。まさにDEFINITIVEなコレクションが並んでいるわけですが、本作はその中でも特別すぎる1本なのです。何しろ、フレディが残した最後のライヴ・イン・ジャパンであるわけですが、それ以上とも言えるのがサウンド・クオリティ。同時リリースの『DEFINITIVE BUDOKAN 1985 2ND NIGHT(Wardour-154)』解説で「1・2を争う」と書きましたが、そのライバルなのが本作。長年『LAST CONCERT IN JAPAN』として愛され、海外の音源サイトでは堂々の「全オーディエンス録音のNo.1」と称されているマスターなのです。
実のところ、両作ともあまりにもケタ違いに素晴らしく、まるで「薬師丸ひろ子と原田知世はどっちが可愛いのか?」といった次元の話。ただ、個性は明らかに異なっており、『DEFINITIVE BUDOKAN 1985 2ND NIGHT』が伸びやかなフレディの歌声のスペクタクルが味わえるのに対し、本作は完全に密着型。鳴りのタイプがそれこそサウンドボード的で、すぐ側に4人を感じられる。巨大な大歓声が極太な演奏の“向こう側”に感じられる事もあり、もし何も知らずに聴いていたらFM放送か、オフィシャルのライヴアルバムかと錯覚するような超極上サウンドなのです。
本作は、そんな超名録音をオリジナル・マスターからデジタル化し直し、2018年基準の細心リマスタリングで磨き込んだ最高峰中の最高峰。もちろん、全体のサウンドを徹底的に洗い直しておりますが、最大の注目点はこれまで見逃されてきた欠点(と言いますか、基本があまりに凄すぎて欠点と思われていなかったポイント)を完全修復したのです。1つは、ステレオ感。従来盤をお持ちの方は、ぜひヘッドフォンで聴き直していただきたい。ショウの中盤「Is This The World We Created?」から終盤「Radio Ga Ga」に渡り、右チャンネルに寄っているのに気付かれると思います。これはこれでマスター・カセットに録音されていた通りなのですが、本作はそのバランスを正常に修復。自然なステレオ感のままフルショウに浸りきれる仕上がりにしました。
もう1つは録音漏れパート。オリジナル・カセットには「Radio Ga Ga」中盤が欠けており、「I Want To Break Free」中盤以降も録音されていなかった。従来盤でもこのパートは別音源で補填されていたわけですが、本作はイチからやり直し。既発ではただ繋げていたのに対し、本作はサウンドの質感からステレオ感まで徹底的に揃えた上でシームレス接続。これまでは「あ、ココでマスターが変わった」と感じられましたが、本作はヘッドフォンで注意していても「いつの間にか変わってた」という仕上がりになっているのです。
このギャップレスな統一感が実に素晴らしい。実のところ、ワールド・ツアー最終日でもあった大阪はフレディの声が荒れ気味で、絶好調の『DEFINITIVE BUDOKAN 1985 2ND NIGHT』には及ばない。しかし、その一言、一声が日本最後だった。その息吹、熱演に耳を澄ませ、じっくりと浸る……そんな本作の役目を鑑みたとき、興醒めの元となるギャップのないサウンドは至高なのです。
そして、内容も最後だからこそのショウ。もちろん、当時のフレディが最後の日本とは思っていなかったでしょうが、最終日だからこそ明日を考えない絞り出すような熱気が込められ、随所に遊びが盛り込まれている。「Killer Queen」前のピアノ・インプロでは「My Fairly King」と「March Of Black Queen」の一節が披露され、「Jailhouse Rock」でも「Whole Lotta Shakin’ Going」の一節が飛び出す。さらに「Bohemian Rhapsody」のイントロとしてエルトン・ジョンの「Saturday Night’s Allright For Fighting」が3分半に渡ってほぼフル演奏される。ワールド・ツアーをやり切った千秋楽の気合いと開放感が全開なのです。

このショウで“THE WORKS TOUR”を終えたQUEENは帰国し、次なるステージは、あのLIVE AID。そして、“あの4人”が揃って日本の地を踏むことは二度とありませんでした。


Disc 1 (62:01)
1. Machines 2. Tear It Up 3. Tie Your Mother Down 4. Under Pressure 5. Somebody To Love
6. Piano Improvisation 7. Killer Queen 8. Seven Seas Of Rhye 9. Keep Yourself Alive
10. Liar 11. Impromptu 12. It’s A Hard Life 13. Day-O 14. Dragon Attack 15. Now I’m Here
16. Is This The World We Created? 17. Love Of My Life 18. Guitar Solo / Brighton Rock

Disc 2 (47:15)
1. Another One Bites The Dust 2. Mustapha 3. Hammer To Fall 4. Crazy Little Thing Called Love
5. Saturday Night’s Allright For Fighting 6. Bohemian Rhapsody 7. Radio Ga Ga ★4:30 – 5:05
8. I Want To Break Free ★1:56 – 終演まで補填
9. Jailhouse Rock 10. We Will Rock You 11. We Are The Champions 12. God Save The Queen


Now I’m Here 6:01 – Radio Ga Ga 4:30



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