UFO / Nagoya 1992 Dat Master / 2CDR / Shades
The Bottom Line, Nagoya, Japan 18th June 1992
The 1992 UFO has been rebuilt with friends Pete Way and Lawrence Archer, and has returned to Japan. An original recording that revives the scene realistically is now available.
“June 18, 1992: Nagoya Bottom Line Performance” is imbued in this work. It is the best audience recording. Speaking of coming to Japan in 1992, the official live album “LIGHTS OUT IN TOKYO” was also left, but of course this work is a completely different performance. It’s also a good opportunity, so let’s look back at the schedule of the visit to Japan at that time and check the position of the show.
・ June 16: Osaka Moda Hall
・June 18: Nagoya Bottom Line ← This product
・June 19: Club Citta Kawasaki
・June 20: Club Citta Kawasaki ← *Official LIGHTS OUT IN TOKYO
A total of 4 performances. While the official was titled “TOKYO” on the last day and was actually a common story of Kawasaki, the Nagoya performance of this work was the second concert.
This work, which was vacuum-packed at such a show, is an audience recording that portrays “superb”. Above all, the most wonderful thing is the strong core and ultra-clear details that are closely adhered. Since there is a really recent official live, it’s hard to say “just like a sound board”, but I usually say it with all my might. Although the sharp edge is one step lower than the official board, the response and clarity are not lost. The factor is of course the technique of the recording artist, but the venue will also be related. After all, Nagoya Bottom Line is a live house with 750 standing people. The feeling of a closed room can be felt realistically.
And the feeling of being in a closed room is a bit different from the sound board, and it’s the most delicious. Even though they are in close contact with each other, they give a faint sense of space, giving the performance and singing voice an indescribable luster and extension. Phil Mogg’s wet voice is even more humid, and Pete’s groove is full of black candy-like taste. Lawrence’s guitar is even more wonderful. The tone of the guitar recognized by the two Phils, Mog & Lynott, is really beautiful, and the sweetness and sadness are increasing.
A full show that is similar to but different from the official live album is drawn with such a superb closed room sound. As expected, there are few people who memorize the 1992 set, so let’s organize it while comparing here.
70’s Classics (8 songs)
・ Phenomenon: Doctor Doctor / Rock Bottom
・Force It: Shoot Shoot
・New murderous intent: Too Hot to Handle / Love to Love / Lights Out
・Space Conquest: Cherry/Only You Can Rock Me
● After the 80’s (6 songs)
・Heavy Metal Experience: Mystery Train(★)
・On the verge of an outburst! : Running Up the Highway / Borderline / She She She’s the One / Back Door Man / One of Those Nights
*Note: “★” marks are songs that cannot be heard on the official edition “LIGHTS OUT IN TOKYO”.
… and it looks like this. As a matter of fact, the 70’s classics and the new work “HIGH STAKES & DANGEROUS MEN (on the verge of explosion!)” are the same as the official live. The only difference is the last one, “C’mon Everybody” from “LIGHTS OUT IN TOKYO”, while “Mystery Train” is played in Nagoya. Rather than a repertoire from “NO PLACE TO RUN”, it was adopted as an encore cover of the standard number.
UFO in Lawrence Archer’s era, when he returned to European blues rock with his sworn friend Pete, in a complete turn from the Atomic Tommy M era, which seemed to follow the glamorous era. If you think about it, it was also the first step of the road leading to the subsequent return of Michael Schenker, MOGG / WAY, and even the modern Vinnie Moore era. The original master of the hidden treasure that allows you to experience such a moment in a closed room with the finest sound. Please enjoy it to the fullest.
★ “June 18, 1992: Nagoya Bottom Line Performance” superb audience recording. It is an original recording only for this work, and the most wonderful thing is the close contact, strong core and super clear details. Not to mention the skill of the recording artist, the closed room feeling of the live house is wonderful, and you can feel the band in front of you. Moreover, the feeling of the closed room is a little different from the sound board, and it is the most delicious, giving the performance and singing voice an indescribable luster and growth. It is a delicious treasure live album of “Mystery Train” that could not be heard on the official edition “LIGHTS OUT IN TOKYO”.