Metallica/Aichi,Japan 1993 Upgrade

METALLICA in 1993 became the biggest monster in the history of heavy metal with their “BLACK ALBUM”. Introducing the new excavation master of the legendary sound board that recorded Live in Japan at its peak. What is engraved in this work is “March 23, 1993: Nagoya Century Hall Performance”. It is the super best stereo sound board recording. During the “BLACK ALBUM” era, METALLICA was on a long world tour that lasted for three years, and during that they visited Japan twice. Now, let’s check the position of the name from the schedule. 1991 “WHEREVER WE MAY ROAM TOUR”・December 31: Tokyo Dome 1993 “NOWHERE ELSE TO ROAM TOUR”・March 16: National Yoyogi Stadium・March 17: National Yoyogi Stadium・March 18 Sun: Yokohama Arena, March 21st: Fukuoka Sun Palace, March 22nd: Osaka Castle Hall, March 23rd: Nagoya Century Hall ←★This work★ This is the entire tour to Japan during the “BLACK ALBUM” era. The Nagoya performance of this work was the final day of the concert. This show is also known for having the finest leaked soundboard, and in particular, the prestigious Bondage label’s “BLACKEN ‘EM ALL” has been a treasured edition of collectors for many years. This work is also originally the same leaked sound board, but it is a new master that updates its highest peak. Before we talk about the updates, let’s start from the beginning for those who don’t know about “BLACKEN ‘EM ALL”. This sound board is truly the best. It is not the type that is arranged like the official version or FM broadcast, but a direct connection system from the mix desk. Therefore, the loud cheers were loud and distant, and there was no processing to recreate the concert atmosphere. It’s the type where the sound of the performance and vocals just flow out (such as the opening SE of “One”, which has an incredibly dynamic stereo sound). And this is also extremely intense. At the time, METALLICA was pursuing heaviness and spectacle, and all of their official live shows and broadcasts, including “LIVE SHIT: BINGE & PURGE,” were finished in a “heavy” and “dynamic” style. That’s all well and good, but this work is completely different from that, and has an amazing edge to it. Each riff is sharp and sharp, the bass is very sharp and the drums are extremely hard, even the bass drum. It’s clearly a metal sound that’s more “metal” than “heavy.” At the time, people said that it had become a bit dull, but that was just the result of the sound creation, and the performance itself still had a thrashy edge to it…a sharp, superb sound that brings this fact to light. It’s a board. So, how does this work transcend such a legendary sound board? In fact, since it is a leaked soundboard, the quality and texture itself is almost the same as the traditional version “BLACKEN ‘EM ALL”, but the point is that it is seamless. In “BLACKEN ‘EM ALL”, there was a drop in the sound at the beginning of “Harvester Of Sorrow”, “Seek And Destroy” and “Last Caress” (although it was at a momentary level that you would not notice if you were listening normally). However, this new excavation master has no sound drop at all. Since the circumstances of the leak are unknown, it is impossible to say for certain, but it is likely that a contact failure occurred in the equipment of “BLACKEN ‘EM ALL” somewhere during the duplication stage. This work is a perfect master that seems to be the previous stage. The show with such super sharp and perfect sound is truly a heavy metal paradise. The set is similar to the Mexico City performance of “LIVE SHIT: BINGE & PURGE”, but it is even more compressed. Let’s organize the contents here. ・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 like this It has become. The show itself was more tightly organized than the Mexico performance, but there was also no bass & guitar solo, “Through the Never” and “Enter Sandman”, and the recording ended in the middle of “One” (this is This is due to a recording omission and is the same as the previous episode). To be honest, it’s an incomplete record, but it’s strange because when I actually listen to it, I don’t really notice any flaws. If you remember “LIVE SHIT: BINGE & PURGE” again, you will realize that METALLICA’s shows at that time were just long. In particular, the bass and guitar solo in the middle of the show is played endlessly for nearly 20 minutes in “LIVE SHIT: BINGE & PURGE”, and you may have had the experience of skipping it involuntarily. There is no such part in this work. It is a live album where the aggressive performances are played out one after another without any delay, and the metallic edge continues to explode from beginning to end, coupled with an extremely sharp sound. METALLICA has risen to become the biggest monster in the history of HR/HM, which is packed with heroes. In today’s world where the music scene has changed, there will no longer be anyone who can surpass them. This work is a live album where you can enjoy the transcendent line sound of the performance in Japan during the era when such eternal majesty was determined. An eternal piece that has been unexpectedly upgraded by the legendary soundboard master. Live at Century Hall, Nagoya, Japan 23rd March 1993 STEREO SBD(from Original Masters)*UPGRADE 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 STEREO SOUNDBOARD RECORDING James Hetfield – Guitar, Vocal Lars Ulrich – Drums Kirk Hammett – Guitar Jason Newsted – Bass