Joe Lynn Turner Glenn Hughes Joe Lynn Turner Glenn Hughes/Aichi,Japan 2000

Joe Lynn Turner’s 2000 Japan tour, which featured Glenn Hughes as a guest and sparked the launch of HTP, is here. This is a treasured original recording that lets you experience the full show. This work is recorded at the Nagoya BOTTOM LINE performance on October 19, 2000. This is the finest audience recording. HTP’s official visit to Japan was in 2002 and 2004, but prior to that, in 2000, Joe’s solo visit to Japan was realized with his “HOLY MAN”. Glenn was invited there, and a show that could be called “pre-HTP” was held. We have introduced the pattern in the masterpiece “OSAKA 2000”, and this work is the second live album. Let’s look back on the schedule at that time.・October 18: Umeda HEAT BEAT ← ※ OSAKA 2000 ・October 19: Nagoya BOTTOM LINE ← ★ This work ★ ・October 21: Shibuya ON AIR EAST ・October 22: Shibuya ON AIR EAST All four performances. “OSAKA 2000” was the first day performance where the co-starring of the century was realized, but the Nagoya performance of this work was the second day stage following it. And this work, which vacuum-packed the scene, is a super vivid powerful audience. It is one of the Nagoya-based DAT masters that have been continuously excavated at our shop recently, but the core is extremely thick. Although the sense of space can be felt in the extension of the vocals, that’s about it when it comes to audience-likeness. A thick core like a rough rope is thrust in front of you, approaching you with a powerful force that is just before you can be scared. What’s even more amazing is that even though it’s that powerful, the details are not crushed and are neatly arranged. The guitar, keyboard, and rhythm section are all tightly separated, and you can hear the touch and vibe clearly. It’s a closed-room sound that is just like the narrow “THE BOTTOM LINE” space is sealed in two CDs. Such a direct sound depicts a full show where the two heroes stand side by side and inherit the tradition of DEEP PURPLE/RAINBOW. However, this tour is based on Joe’s solo performance, so the distribution is a little different from the later HTP. Let’s organize the contents here. Joe’s repertoire (11 songs) Rainbow: Death Alley Driver/I Surrender/Street Of Dreams/Spotlight Kid Purple: King Of Dreams Solo: Holy Man/Anything/No Room For Love/No Salvation/Midnight In Tokyo/Too Blue To Sing The Blues Glen’s repertoire (5 songs) Purple: You Keep On Moving/Might Just Take Your Life/Burn Sabbath: No Stranger To Love Solo: The State I’m In Others (1 song) Smoke On The Water It’s like this. Joe’s share is larger than in HTP, where the two were almost equal, but considering that it was originally Joe’s solo visit to Japan, Glen’s songs are also exceptional… The balance is good. Joe’s solo song “No Room For Love” is the only one from “HURRY UP AND WAIT”, and the rest are all “HOLY MAN” numbers. Also, the show was structured in a style that sandwiched Glenn Corner in the middle of Joe’s performance. The old and new masterpieces are delicious, but the biggest point is the harmony of Glenn and Joe’s voices overlapping. Basically, the other person’s songs are turned into choruses, but this is a feature that is one step away from a duet and is the best. Joe’s “King Of Dreams” makes you want to fantasize about “If Glenn was in the 6th period Purple…”, and “Holly Man” and “Street Of Dreams” are also great works that are not just choruses. And the highlights are “You Keep On Moving” and “Might Just Take Your Life”. Although Glenn is basically the main character in the former, Joe also overlaps with plenty of harmony and takes the lead in some parts. At the end, you can even hear the improvisation battle between vocalists (it’s nice to see that they are not yet familiar and miss the timing of the change). And “Might Just Take Your Life” is a twin style that completely reproduces the 3rd period. Of course, the final tracks “Burn” and “Smoke On The Water” are also must-listen. Although the distribution and parts are different from Coverdale/Hughes, it is a duet version in which the two sing differently. It is a wonderful singing that can be said to be a preview of HTP. Joe Lynn Turner and Glenn Hughes, who touted the reproduction of the third and fourth periods of Purple, went even further in terms of the compatibility of their vocal qualities. HTP was born because of the wonderful performance in Japan in 2000. This work is a full live album that proves that sound. A utopia of classic rock that convinced not only the flexible Joe but also the stubborn Glen. The best audience recording of the “October 19, 2000: Nagoya BOTTOM LINE performance”. The sound, which was directly digitized from the original DAT master, is like a rough rope, and the core is thrust in front of you, approaching you with a force that is just about to be shaken. Even though it’s so powerful, the details are not crushed and are beautifully arranged, the guitar, keyboard, and rhythm section are neatly separated, and you can hear the touch and vibe clearly. It’s a closed-room sound that feels like the narrow space of “THE BOTTOM LINE” has been sealed in its entirety on a CD. This is a live album that allows you to enjoy a full show that is the original form of HTP and also includes plenty of solo songs by both heroes. Live at THE BOTTOM LINE, Nagoya, Japan 19th October 2000 TRULY PERFECT SOUND(from Original Masters) Disc 1 (55:01) 1. Intro 2. Death Alley Driver 3. I Surrender 4. Holly Man 5. Anything 6. King Of Dreams 7. No Room For Love 8. No Salvation 9. Band Introductions 10. No Stranger To Love 11. The State I’m In Disc 2 (57:02) 1. You Keep On Moving 2. Might Just Take Your Life 3. Street Of Dreams 4. Midnight In Tokyo 5. Spotlight Kid 6. Burn 7. Too Blue To Sing The Blues 8. Smoke On The Water