Uli Jon Roth/Osaka,Japan 2001

This is… amazing. An incredibly transcendental sky album has arrived. A live in Japan explosion where sky guitars dance with super sounds that overturn the common sense of live recording! [The transcendental sound of “directly connected audience!?”] What is sucked into this work is Uli Jon Roth’s first solo visit to Japan, which was realized for the first time in 23 years since SCORPIONS. “May 16, 2001: Mido Kaikan” performance. That transcendental audience recording… is, probably. I’m sorry for the unreliable feeling, but in fact it is definitely an audience recording, but the sound says “No!” with all its might. It is a master brought by a unique route, but “It’s a super-excellent stereo sound board. It’s also a direct-connection-to-the-mix-table related leak thing… isn’t it? Really?” I have repeatedly confirmed it. In fact, the core is extremely thick, there is no sense of distance, and the sense of separation is enormous… The more I say this, the more I feel that the impact of this sound is not conveyed. The 2001 visit to Japan was in conjunction with the official live album “TRANSCENDENTAL SKY GUITAR,” but there is no sense of incongruity even when playing this work and “TRANSCENDENTAL SKY GUITAR” on shuffle. If I had to say, it would be that “the official version is well-organized” and “this work is super vivid even to the creaking of the guitar,” but that is only at the level of a checkpoint to distinguish in a blind test. If you listen normally, you will no longer know whether what is missing now is official or not. What I want to emphasize here is “if you listen carefully.” It’s not “if you listen casually,” but even if you are seriously immersed in headphones, it is an official level of listening. How can you get such a sound in the audience!?!?… I was wondering, but it seems that the secret is in the position. In the first place, the Mido Kaikan has a small capacity of about 1,000 people, but it seems that it was recorded in the very center of the front row. The stage is definitely close, but for this work, it has more meaning than that. In fact, it not only picks up the output sound of the venue PA, but also the sound of Uri’s amplifier placed on the stage directly (you can hear a slight “jijiji…” noise coming out of the amplifier during the silence between songs). Therefore, the Sky Guitar transcends even ordinary soundboards, and even the feeling of fingerprints rubbing the strings is clear. A terrifyingly super direct sound is realized. [A wide range of classics are also delicious solo first visit to Japan] Such a shocking sound depicts a full show that could be called the “Japanese version of TRANSCENDENTAL SKY GUITAR”. Not only classical numbers, but also a wide range of masterpieces that overlook Uri’s career are performed in abundance. Let’s take a look at the contents here. Classics Scorpions: Dark Lady/Virgin Killer/Polar Nights/We’ll Burn the Sky/The Sails of Charon/Ruins of the Castle; Electric Sun: Still So Many I Lives Away/Cast Away Your Chains/I’m a River/I’ll ​​Be There; Gino: Eastern Sun 90s and later: Legend of the Sky: Bridge to Heaven/Starlight; Heavenly Bliss (Phoenix): Sky Overture/Tuona E Fulmina/Air De Aranjuez/Beethoven Paraphrase; Heavenly Bliss (Dragon): Gypsy Czardas; Others: L’ Inverno-Winter/Vivaldi Paraphrase/Mendelssohn Paraphrase/All Along The Watchtower/Little Wing… and so on. Classics, the masterpiece mini-album “PROLOGUE TO THE SYMPHONIC LEGENDS”, Jimi Hendrix covers, and other songs that were not available on “TRANSCENDENTAL SKY GUITAR” are also included. They even play ZENO’s “Eastern Sun”. Tommy Hart of FAIR WARNING is the vocalist for “Eastern Sun”, the masterpiece “Bridge to Heaven”, and SCORPIONS’ “We’ll Burn the Sky”. His husky and flavorful voice doesn’t really give the impression of him as a high-pitched singer, but his singing here is perfect. The operatic “Bridge to Heaven” is also beautifully reproduced with his live voice. Other great features are Clive Bunker’s drumming, which is just like the 80’s, and Don Airey’s casual performance, as well as Stephen Bentley Crane’s violin, who is also known to rock fans as the conductor of DEEP PURPLE’s “LIVE AT MONTREUX 2011” and “LIVE IN VERONA”. However, the strongest part is Uri’s Sky. This is a super live album where that soaring melody flows into your brain with a transcendental sound that is even better than a sound board. While I am grateful for the taper that captured this work, I am jealous of the fact that I was exposed to this sound on site. Uri has visited Japan from time to time since then, but I can’t think of a record that is as beautiful, powerful, and vivid as this. This is a super masterpiece that overturns the common sense and limitations of the culture of audience recording. This is a super-class audience recording of the first solo visit to Japan, “May 16, 2001: Mido Kaikan”. It was recorded from the very center of the front row, and not only the PA but also the sound output from Uri’s amplifier on the stage was recorded directly. It is a sound board class directly connected to the desk, and it is a super sound that does not feel strange even if you actually shuffle it with the official live album “TRANSCENDENTAL SKY GUITAR”. The show will be centered on the “TRANSCENDENTAL SKY GUITAR” numbers, but will also feature a wide range of hits from Sasoridan, ELECTRIC SUN, ZENO, and others. This is a live album of sky guitars with super-clear sounds. Soundboard-class super high-quality sound! A performance in a small hall with a capacity of about 1,000 people along Midosuji in the business district of Honmachi was recorded almost in the center of the front row. The sound of Uri’s guitar is recorded directly from Uri’s amp on stage, not from the PA. Mido Kaikan, Osaka, Japan 16th May 2001 ULTIMTE SOUND(from Original Masters) Disc 1(66:28) 1. Introduction 2. Sky Overture 3. Tuona E Fulmina 4. I’m a River 5. I’ll Be There 6. Air De Aranjuez 7. L’ Inverno-Winter 8. Vivaldi Paraphrase 9. Bass Solo 10. Keyboard Solo 11. Bridge to Heaven 12. We’ll Burn the Sky 13. Kojo No Tsuki Disc 2(62:22) 1. Starlight 2. The Sails of Charon 3. Virgin Killer 4. Drum Solo 5. Still So Many I Lives Away 6. Cast Away Your Chains 7. Polar Nights 8. Gypsy Czardas 9. Violin Solo 10. Mendelssohn Paraphrase 11 . Beethoven Paraphrase 12. All Along The Watchtower 13. Little Wing 14. Eastern Sun 15. Dark Lady Uli Jon Roth – Guitar, Vocal Barry Sparks – Bass Don Airey – Keyboard Clive Bunker – Drum Steve Bentley-Klein – Violin