Gary moore/UK 8.14.1984 New Source

In 1984, Gary Moore mastered his unique hard rock style with his masterpiece “VICTIMS OF THE FUTURE” and was challenging the whole world. A new excavation live album is now available that allows you to experience the highlight performances on-site with extremely thick sound. The highlight performance is “August 18, 1984 Donington Performance”. This is a super powerful audience recording when he appeared in the home version of “MONSTERS OF ROCK”, which was the UK’s largest HR/HM festival. Recently, there has been a rush of releases of MOR’s masterpieces from 1984, and this work is also part of that. Although the show itself has been reported as part of the compilation title “MONSTERS OF ROCK 1984 VOL.1”, this work is a completely different recording from that 5-disc set. The position of the show is before the quality. Gary at the time was in the middle of the “VICTIMS OF THE FUTURE Tour”, and official works “WE WANT MOORE!” and “EMERALD AISLES” were also produced, with minor member changes in between. In order to sort out the situation, let’s first look back at the tour overview.・January 16th – February 17th: UK #1 (13 performances) ←※WE WANT MOORE! ・February 24th – 29th: Japan (5 performances) ←※WE WANT MOORE! ・March 10th – 30th: Europe #1 (17 performances)《DRUMS: Ian Paice → Bobby Chounard replaced》・May 8th – July 7th: North America (39 performances)←※WE WANT MOORE!《DRUMS: Chownard →Replacement with Paul Thompson》・August 15th – September 2nd: Europe #2 (6 performances)　←★Coco★《November production of “Out In The Fields”》《BASS: Craig Gruber → Replacement with Bob Daisley 》・December 12th-20th: UK #2/Ireland (5 performances) ← *EMERALD AISLES　This is Gary Moore in 1984. “VICTIMS OF THE FUTURE” itself was released in December 1983, but the tour started after the new year. The main battlefield was Europe, but this year’s North American tour was actually the biggest in Gary’s solo career. The Donington performance of this work was the second concert of “Europe #2”, which returned from such a serious invasion of the United States. By the way, after this mini-tour, they started working on the single “Out In The Fields” with Phil Lynott and the video work “EMERALD AISLES” about their home country tour. In other words, what is permanently preserved in this work is Gary who is on the verge of opening his eyes to Irish rock. [Radically powerful audience recording] This work recorded at such a show is a powerful audience that is reeling in the shock of being hit in the head. I’m sure many of you have already noticed this, but it’s part of the “G.Mann” collection, which has been releasing masterpieces related to “MONSTERS OF ROCK 1984″ recently, and the core is extremely thick and close-knit. I think the microphone was probably pointed directly at the PA tower inside the venue, but there was no sense of distance from the sound coming out right there, and because it was outdoors with no walls or ceiling, there was no echo component. The outline of the harsh performance sound stands out sharply, the bass is solid, and the drums are so three-dimensional that you can almost imagine the structure of the kit. And above all, a guitar that creaks, groans, and cries out! This is already super intense. It is natural that each shot of machine gun picking is vivid, each grain has a metallic luster, and it attacks at an incredible speed. When you think about it, the arming that sounds like a scream and the bending that feels like the strings are going to break are incredibly powerful. At this point, it’s not just a phrase or a tone. “A guitar can make such a great sound,” he said surprisingly. I have handled countless records by many rock guitarists, but I feel like what Gary is playing in this work is a completely different monster instrument. To be honest, I don’t think words like “neat” or “beautiful” would suit this work. It specializes in direct feeling and power, and in that sense it cannot be said to be highly complete. However, such things are “fuck it”. Is there any other music that tortures the guitar so much, makes it cry and howl, and is there a music album that allows you to experience its power? When you think, “Okay, let’s listen to Gary’s live album,” and play it, you’re suddenly struck by an unknown musical sensation that stirs your brain…it’s such a shocking music experience. [A shock record that is both HR and [an unknown musical experience]] The sound was so amazing and the guitar so great that I was blown away, but objectively speaking, this is Gary’s live album. This is a piece where you can enjoy plenty of famous songs from the HR era. Let me introduce you to that repertoire here. Great Ambition・Rockin’ Every Night (★)／Wishing Well (★)／Cold Hearted Victims of the Future・Murder In The Skies／Shapes Of Things／Victims Of The Future／Empty Rooms Others・Back On・The Streets: Parisienne Walkways ・White Knuckles/Rockin’ And Rollin’ (★) ・Others: Majestuso E Virtuoso *Note: Songs marked with “★” cannot be heard on “WE WANT MOORE!” …and it looks like this. To put it bluntly, it’s a set that’s like adding “ROCKIN’ EVERY NIGHT” and “WE WANT MOORE!” and dividing it by 2, but the depth of the performance doesn’t feel like it’s divided at all. Two pieces are piled up and concentrated into one piece by force, and then boiled down to a very thick hard rock that is almost like a thick extract. I don’t even know what I’m writing anymore, but it’s a series of explosive hard rock and powerful guitars that will pull those delusions out of your brain one after another. Anyway, an incredibly powerful sound and a sharp guitar. However, unlike hardcore and grunge, which tend to quickly go bankrupt, the dynamism unique to hard rock, which keeps the songs from falling apart due to the rigidity of steel, is striking. This is a new album that lets you experience the “shock of music” that goes beyond the charm of “Hard Rockin’ Gary,” while also showing off the charm of “Hard Rockin Gary.” It’s not the soundboard or the audience, but the sound and rock that can only be experienced in this work. Super powerful audience recording of “August 18, 1984 Donington Performance”. It’s part of the much-talked-about “G.Mann” collection, and the core is super thick and clings tightly. There is no sense of distance, and because it is outdoors with no walls or ceilings, there is no echo component. Especially the guitar is super strong. It is natural that each shot of machine gun picking is vivid, each grain has a metallic luster, and it attacks at an incredible speed. When you think about it, the arming that sounds like a scream and the bending that feels like the strings are going to break are incredibly powerful. You can fully experience the super masterpiece performance of “Hard Rockin’ Gary” with an amazingly different-dimensional sound that says, “A guitar can make such a sound.” Castle Donington, Leicestershire, UK 18th August 1984 TRULY PERFECT SOUND(NEW SOURCE) (65:55) 1. Intro 2. Rockin’ Every Night 3. Wishing Well 4. Murder In The Sky 5. Cold Hearted 6. Shapes Of Things 7 Victims Of The Future 8. Empty Rooms 9. Majestuso E Virtuoso 10. White Knuckles 11. Rockin’ And Rollin’ 12. Parisienne Walkways Gary Moore – Vocals, Guitar Neil Carter – Guitar, Keyboards, Vocals Craig Gruber – Bass Paul Thompson – Drums