Sting/ Osaka 2017 / 2CD

Sting/ Osaka 2017 / 2CD / Wardour
Translated text:
Live At Osaka Municipal Central Gymnasium, Osaka, Japan 10th June 2017.

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No. 1 performance in Japan … …. No, super and superb live album that will shine the highest masterpiece of the whole world appears. This week we will see two BUDOKAN 2017 2ND NIGHT (Wardour – 238) and 3RD NIGHT (Wardour – 239) performances of Nippon Budokan Performance, but this is the most spiritual recording of this recording It is king.
It is contained in such a work, “June 10, 2017: Osaka city central gymnasium” performance. First of all, let’s imagine the position from the schedule of all the performances.

· June 6: Nippon Budokan
· June 7: Nippon Budokan “BUDOKAN 2017 2ND NIGHT”
· June 8: Nippon Budokan “BUDOKAN 2017 3RD NIGHT”
· June 10: Osaka City Central Gymnasium 【this work】

Over, all four performances. Osaka performance of this work was also Japan finals. What made such a work like that, is Master ‘s “Nishi Nippon Strongest Taper”. It is rumored to be familiar with all live spaces in western Japan, but this work is a wonder of special class even such a masterpiece collection.
That sound is beyond description. “BUDOKAN 2017 2ND NIGHT” and “3RD NIGHT” also considered abnormal masterpieces having different dimensions from ordinary audience recording, “I think there would not be any more”. However, the Osaka Master that arrived one step behind is no abnormality “abnormally exceeded”. Although evidence of audience recording is carved into raw cheeks, a very thick “core” and a very detailed “detail” are “as if a sound board”. No, I also have a beautiful ‘ringing’ so I’d like to call it ‘as if it’s an official’. It is too perfect sound.
When I looked at the secret of extremely wonderful beautiful sounds, the answer returned was surprisingly “the 15th row”. “Strongest” is a person who records in various positions such as the second floor seats and the front row, but it all matches the venue acoustics. “Osaka city central gymnasium” which became the scene of this time is that the balance of musical instruments is bad, too, if it is too long ago, it becomes a sound that sounds like vocals have gone out. As a person who writes commentary, it is easier to understand if he said “Simple” front seat recording! “, But if you listen to only this” beautiful sound “roots of guw do not come out.
Particularly amazing is the Sting main part. Of course, Joe Sumner & THE LAST BANDOLEROS from the next point of clearance and direct, but Sting’s edition gets much better, wearing a rocky rock dynamism. Of course, this difference is not due to recording but due to on-site sound emission. The on-site sound gets more powerful and it is faithfully catching it. Especially amazing is bass. It is a bass tend to be a weak point in audience recording, but this work is extremely fat in fat. It is such a deep force that it is conveyed that the floor of the gymnasium trembles. Still, it is not merely impressive, it is wonderful that it is the “stop” just before the bibi. While a rich vibe explodes, it does not cloud the air, and everything is transparent to crystal clear. “Strongest” is exquisitely set up not only for the venue but also for Melody-like music characteristics and customer base of Sting, but the design is fully open. “The familiarity with every venue” was true …… It is ultra-super-elegance which can prove it with eloquent sound more than words.

Anyway, super and superb sound. As for the latest visit to Japan, many people will be asking for live albums for permanent preservation of memories. However, this work is beyond that dimension. Even if you go to any venue …… No, if you do not watch a live, you will be satisfied with the quality of this work.
The horizon where this work stands is not “because it is a Japanese performance” – “because it is Sting.” A masterpiece to be told in the dimension of “rock album masterpiece” beyond that. It just happened to be Japan in 2017. Born in Japan in 2017, a masterpiece of the world’s most prominent live album. Now, please.
★ ★ This title will arrive in the evening on June 23 (Friday). Please acknowledge it beforehand.
Google Translate for Business:Translator ToolkitWebsite Translator

日本公演ナンバー1……いえ、全世界の最高傑作に輝くであろう超・極上ライヴアルバムが登場です。今週は日本武道館公演の2連作『BUDOKAN 2017 2ND NIGHT(Wardour-238)』『同 3RD NIGHT(Wardour-239)』も登場しますが、ことオーディオ的には本作こそが頂点に輝く“録音の王”です。

・6月7日:日本武道館 『BUDOKAN 2017 2ND NIGHT』
・6月8日:日本武道館 『BUDOKAN 2017 3RD NIGHT』
・6月10日:大阪市中央体育館 【本作】

そのサウンドは筆舌に尽くしがたい。『BUDOKAN 2017 2ND NIGHT』『同 3RD NIGHT』も通常のオーディエンス録音とは次元の違う異常な傑作ぞろいで「これ以上はないだろう」と思っておりました。ところが、一歩遅れて届いた大阪マスターはまさかまさかの“異常超え”。生々しい喝采にオーディエンス録音の証拠は刻まれているものの、極太な“芯”と超詳細な“ディテール”は「まるでサウンドボード」。いえ、美しい“鳴り”も備えているのですから「まるでオフィシャル」と呼びたい。あまりにもパーフェクトなサウンドなのです。
特に凄いのは、スティング本編。もちろん、ジョー・サムナー&THE LAST BANDOLEROSの次点から超絶クリア&ダイレクトなのですが、スティング編は格段に良くなり、ブッとくロックなダイナミズムまで纏う。もちろん、この差は録音ではなく現場の出音によるもの。現場音がグイッと迫力を増し、それを忠実に捉えきっているのです。特に凄いのは低音。オーディエンス録音では弱点になりがちな低音ですが、本作はファットで極太。それこそ体育館の床が震えるのが伝わるようなド迫力なのです。それでいて、単に迫力押しではなく、ビビる直前の“寸止め”なのが素晴らしい。豊かなヴァイヴが炸裂しつつ、それが空気を濁らせず、すべてがクリスタル・クリアに透き通っている。“最強”氏は、会場だけでなくスティングのメロディアスな音楽性や客層にも合わせて機材も絶妙にセッティングされているわけですが、その意匠は全開。「あらゆる会場を熟知」は本当だった……それを言葉よりも雄弁なサウンドで証明してみせる超・極上品なのです。


Disc 1 (69:54)
1. Intro. 2. Heading South On the Great North Road 3. Looking For Me Looking For You (Joe Sumner)
4. Don’t Change The Love (Joe Sumner) 5. Drink (Joe Sumner) 6. Jelly Bean (Joe Sumner)
7. Maria (The Last Bandoleros) 8. River Man (The Last Bandoleros)
9. I Don’t Want To Know (The Last Bandoleros) 10. Where Do You Go? (The Last Bandoleros)
11. Take Me To It (The Last Bandoleros)

12. Intro. 13. Synchronicity II 14. Spirits in the Material World 15. Englishman in New York
16. I Can’t Stop Thinking About You 17. Every Little Thing She Does Is Magic
18. One Fine Day 19. She’s Too Good for Me

Disc 2 (73:16)
1. Mad about You 2. Fields of Gold 3. Petrol Head 4. Down, Down, Down 5. Shape of My Heart
6. Message in a Bottle 7. Ashes to Ashes 8. 50,000 9. Walking on the Moon 10. So Lonely
11. Desert Rose 12. Roxanne / Ain’t No Sunshine 13. Next to You 14. Every Breath You Take
15. Fragile


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