GiGinJapan Artwork of Japanese CDs (mostly) W.A.S.P / Zurich 1997 / 1CDR / Shades
Volkshaus, Zurich, Switzerland 21st May 1997
Play sample :
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1997 W.A.S.P., whose ally Chris Holmes has returned and regained the original ferocious sound with the super-radical board “KILL FUCK DIE”. Introducing a live album where you can experience the scorching scene in the best possible way.
It was the “May 21, 1997 Zurich performance” that was imbued with this work. It is a powerful audience recording. The other day, I introduced the live album “BONN 1992 (Shades 1349)” of “THE CRIMSON IDOL Tour”, but after the tour, Blackie Lawless announced “STILL NOT BLACK ENOUGH” which is the second solo system. However, the tour was not conducted and the activity was silenced, and Chris’s return was realized in August 1995. And then one and a half years. In 1997, he fully resumed full-scale activities. It was the release of “KILL FUCK DIE” that became the signal smoke, and it was the first tour in 5 years. First, let’s look back on such a “one year of restart” and confirm the position of the show.
・ January 27-February 7: Europe # 1 (7 performances)
・ April 24-27: Europe # 2a (4 performances)
“April 29,” KILL FUCK DIE “released”
・ April 30-May 30: Europe # 2b (23 performances) ← ★ Coco ★
・ June 8th-July 11th: North America (20 performances)
・ September 17-21: Japan (4 performances)
This is the 1997 W.A.S.P. The first step in the full-scale return was a European tour before and after the album release, but this Zurich performance is the 20th performance of “Europe # 2”. The performance in Japan is also memorable on this tour, but this work is four months before that.
This work recorded at such a show is a clear sound that will awaken your eyes. You can feel the sense of space in the snare sound, but the straight core is as bright and sharp as a laser beam, and the details are very delicate. Of course, it doesn’t make sense if the sound is too vivid and hurts your ears, but I don’t have to worry about it in this work. It’s insanely natural, and the freshness that doesn’t distort peaks or fine dust is tremendous. If you liken this feeling to Japanese recording, I would like to call it “like a prestigious kinnie.” A sound that pursues “the beauty unique to an audience” by placing the highest priority on clearness rather than the closeness of a sound board. Of course, this work is just a metaphor, not a Kinney recording, but it is a crystal clear brand that the world of Mine is revived.
The sound of such brilliance is a violent show that is the opposite of the beauty of the sound. In “THE HEADLESS CHILDREN” and “THE CRIMSON IDOL”, Blackie was extremely dramatic in the straightforward heavy metal, but he returned to the violent line when he revived. He called himself “Snuff Rock” and developed an aggressive stage that surpassed the shock rock at the time of his debut. On the other hand, the set was also Greatest Hits, where the representative songs were lined up in a row. Let’s organize the contents here.
● Opening Medley
・ Majinden: On Your knees / Hellion
・ Electric Circus: I Don’t Need No Doctor
・ Crimson Idol: Chainsaw Charlie (Murders In The New Morgue)
● Others
・ Majinden: Animal (Fuck Like A Beast) / L.O.V.E. Machine / I Wanna Be Somebody
・ Last Command: Wild Child / Blind In Texas
・ Headless Children: The Real Me
・ Kill Fuck Die: Killahead / U / Kill Your Pretty Face / The Horror
…… And it looks like this. It is a style that added the encore “Blind In Texas” to DISC 1 of the official live board “DOUBLE LIVE ASSASSINS” of the same tour. A medley of about 10 minutes from the opening suddenly creates a highlight-like excitement, and after that, it feels like shifting the two axes “W.A.S.P.” → “KILL FUCK DIE” with the representative songs of each era. It is a show where the aggression gradually increases.
Under such circumstances, the new songs of “KILL FUCK DIE”, which seemed to be all about violence, also let us hear a surprising expression. It was a cold industrial sound on the album, but on the stage it has a flesh like a live performance, and it is surprisingly familiar with classics. Of course, that taste was also felt in “DOUBLE LIVE ASSASSINS”, but it feels even more vivid in this work recorded by the audience.
After that, Blackie & Chris broke up again with “UNHOLY TERROR” in 2001. However, these two were still special. A new excavation live album where you can witness the scene of such a famous combination revival with a super clear superb sound. Please enjoy it to your heart’s content.
★ A powerful audience recording of “May 21, 1997 Zurich Performance”. It is a clear recording that will awaken your eyes, and the core that reaches straight is as vivid and sharp as a laser beam, and the details are extremely delicate. Of course, it doesn’t make sense for a sound that hurts your ears, but this work is insanely natural and has a great freshness that does not distort peaks or fine dust. It is a sound that pursues “beauty unique to the audience”. This is a new excavation live album where you can experience the full show that ally Chris Holmes has just returned.
Shades 1354
