Description
The golden five gathered and regained their prime on the “PERFECT STRANGERS Tour”. A new masterpiece that allows you to experience the scene at its best is born. This work is recorded on “July 11, 1985 Nice performance (France)”. It is a superb audience recording. The greatest taste of this work is the transcendent sound that is whispered as “PERFECT STRANGERS Tour audience’s masterpiece!?” First of all, the position of the show. Let’s look back at the schedule at that time and check the position of the show. 1984 “PERFECT STRANGERS” released on October 29th November 27th – December 18th: Oceania (13 performances) ← * Official video 1985 January 18th – April 9th: North America #1 (47 performances) May 3rd: Honolulu performance May 8th – 16th: Japan (8 performances) June 14th – July 17th: Europe (17 performances) ← ★ Here ★ August 14th – 24th: North America #2 (6 performances) This is the glory of DEEP PURPLE in 1984 / 1985. The Nice performance of this work is the end of that. 13 performances of the “Europe” leg. This leg also has the classic Paris performance pro shot, but it was the “next” concert. In addition, this show is also known for having a high-quality audience from the analog era, and analog transcription has actually been a hot topic recently. However, this work is a completely different recording. It is a complete version that far surpasses traditional recordings in both recording time and sound quality. In fact, the sound is super clear, super thick, and super tight. It will not be mistaken for a sound board because it will blow out a hot and vivid enthusiasm from the moment it is played, but when the performance starts, it will be “What?”. Anyway, the thick core sounds like a rough rope with no sense of distance at all, and even if you listen carefully with headphones, you can’t feel the hall noise. If you describe it as “like a sound board” here, you might imagine an FM broadcast-like sound, but that’s not it. The rough rope feeling of the core is not only thick but also has a wild feeling of being rough, and the fine details of the performance sound are as fine as the rough rope surface sound fibers. If anything, it is a super direct feeling like a “mix table direct sound board” or “(although it is absolutely impossible in the era) IEMs interception”. And five such rough ropes come together to build an ensemble. This strength is also a sound that recalls the story of “IN ROCK” rather than “MACHINE HEAD”. It is a superb recording full of such “super”, but this work is the best version. In the original sound, the pitch was significantly out of sync (about 25% of a semitone), and the ending of “Space Truckin'” caused the tape to shake violently. Of course, in this work, the pitch and phase are adjusted and the tape shake is also corrected. The part that cannot be corrected (about 90 seconds) is substituted with the classic Paris performance SBD, but there is almost no sense of incongruity in replacing it with the genuine TV broadcast SBD. Of course, it is a correction in pursuit of perfection as a musical work, but it has unexpectedly proven the awesomeness of the original sound. Such a transcendent sound depicts a powerfully burning full show. The set is the same as the Paris performance pro shot, but it is a good opportunity to organize it here. Machine Head: Highway Star, Lazy, Space Truckin’, Smoke On The Water Perfect Strangers: Nobody’s Home, A Gypsy’s Kiss, Perfect Strangers, Under The Gun, Knocking At Your Back Door Others: Classics: Black Night, Speed King, Strange Kind Of Woman, Woman From Tokyo Others: Blues, Difficult To Cure … and so on, the set is the same as the Paris video, but the performance is completely different. Ian Gillan is the best of all. If you have seen the Paris video even once, you may have been disappointed by his hoarse voice. I had a bad feeling about the next performance, but that was betrayed in a good way. The Paris performance was on “July 9th” and this work was on “July 11th”. It seems that the one-day rest in between was effective, and the performance has recovered beautifully. And perhaps inspired by Gillan’s recovery, both Richie and John are playing a series of sharp phrases, and Pace is also doing great. That being said, if you were to call it a “once in a lifetime performance!”, you might think it’s too much, but it’s certainly a V-shaped recovery that makes you want to blurt it out. Even if you listen to it calmly, it’s a wonderful show that is “standard + α of the 5th period”. Two days after the Paris performance, where the opportunity to appear on TV was ruined by a throat disorder. This is a new masterpiece that allows you to enjoy the full show, which has regained its true potential with a professional’s pride, with superb sound. A further brush-up of the famous recording that is also said to be the “masterpiece of the PERFECT STRANGERS audience”. A superb audience recording of the “Nice performance on July 11, 1985”. A complete recording that is completely different from what has been known since the analog era. A very thick core rings at your ears like a rough rope with no sense of distance, and even if you listen carefully with headphones, you can’t feel the hall ringing. Moreover, this is the highest peak version that has been polished with meticulous mastering, and the ending part (about 90 seconds) of “Space Truckin'”, which caused violent tape shaking if the pitch was correct, has been replaced with the classic Paris performance SBD. This is a superb full live album that is also whispered as “the masterpiece of the PERFECT STRANGER audience”. The masterpiece of the audience recording of the PERFECT STRANGERS period! This is the first appearance sound source. Astonishing ultra-high sound quality! Live at Stade Charles-Ehrmann, Nice, France 11th July 1985 ULTIMATE SOUND Disc 1 (56:51) 1. Intro 2. Highway Star 3. Nobody’s Home 4. Strange Kind of Woman 5. Blues 6. A Gypsy’s Kiss 7. Perfect Strangers 8. Under the Gun 9. Lazy 10. Drum Solo 11. Knocking at Your Back Door Disc 2 (4 9:15) 1. Difficult to Cure 2. Jon Lord Keyboards Solo 3. Space Truckin’ 4. Woman From Tokyo 5. Black Night 6. Smoke on the Water Ian Gillan – Vocal Ritchie Blackmore – Guitar Roger Glover – Bass Jon Lord – Keyboards Ian Paice – Drums
Reviews
There are no reviews yet.