Rainbow/CA,USA 3.17.1997

In 1997, 27 years after the “IN ROCK” revolution, Ritchie Blackmore broke away from “hard rock.” A new excavation is a live album that allows you to experience the ultimate scene of such a final stage. What is inscribed in this work is “Hollywood performance on March 17, 1997”. This is the best audience recording. Speaking of “Hollywood in 1997,” the blockbuster hit “COMPLETE HOLLYWOOD 1997” is still fresh in our minds, but this work was performed on a different day and at a different venue (although at the same venue). Normally, we would start with a complete schedule of the Doogie era, but since this is a good opportunity, let’s narrow it down to 1997 and organize our collection. ・February 20th “FIRST GIG AT OLD BRIDGE” ・February 21st + 22nd (2 performances) ・February 26th “BURN IN WAREHOUSE (Toronto)” *DVD ・February 27th “LIVE AT THE MACHINE” *February 28th “FINAL CHAPTER (Columbus)” March 1st: Detroit performance March 2nd “STRANGER IN SCHAUMBURG” *DVD March 6th-16th (7 performances) *March 17: Hollywood performance ←★This work★ *March 18 “COMPLETE HOLLYWOOD 1997” March 19 “OVER THE EDGE (Palo Alto)” *DVD – Approximately 2 months later – May 31 “MAYBE NEXT TIME (Denmark)” 《RAINBOW disbanded → BLACKMORE’S NIGHT starts》 *Note: Only representative audience records for each day. This is an overview of 1997, the last year of “Hard Rock Guitarist: Ritchie Blackmore.” It was a total of 19 performances, including a one-month North American tour and the last show in Denmark. Among them, this work was recorded as the third performance from the end of the North American tour. It was a concert the day before “COMPLETE HOLLYWOOD 1997” (at the same venue). In fact, the next day “March 18th” had multiple sound sources such as “COMPLETE HOLLYWOOD 1997” and a traditional FM sound board, but this work’s “March 17th” It wasn’t known. It is a shocking new excavation album. It was a sister show to “COMPLETE HOLLYWOOD 1997”, but I was surprised because the sound was actually very similar. If you’ve experienced “COMPLETE HOLLYWOOD 1997”, I’m sure you’ve already made up your mind, but the ultra-tight and close-fitting sound that was said to “surpass the soundboard” is just like that. Although it is clear from the lively applause that it was an audience recording, the beautiful separation, the detailed details down to the smallest detail, and the sense of zero distance are all comparable to that super masterpiece. Although the person who recorded it is not known, it would not be surprising if it was the same taper…or else it is a sister work that is unnaturally similar. That said, even though they are generally on the same level, if you listen to them in detail, they are better. First of all, the vocals are better than “COMPLETE HOLLYWOOD 1997”. Although the types are very similar, this one has a better flow and clearer outline. Of course, “COMPLETE HOLLYWOOD 1997” seemed perfect, but this work has a vividness that shines through from the ensemble. It’s probably a knob on the on-site mix table, but it has a more “vocal album” feel. On the other hand, it was only half a step behind “COMPLETE HOLLYWOOD 1997” in the final stage. The original sound that appeared on the internet had some popping noises here and there. However, this point cannot be left unaddressed, and has been corrected as much as possible through careful mastering, including pitch correction. This is the highest quality version that even those who are irritated by the original sound online can listen to carefully. What is drawn with such best quality is a full show that narrows down the second day “COMPLETE HOLLYWOOD 1997”. Let’s organize the set here. DEEP PURPLE・Mistreated/Woman From Tokyo/Lazy/Perfect Strangers RAINBOW・Ronnie era: Long Live Rock ‘n’ Roll/Man On The Silver Mountain/Temple Of The King・Graham era: Since You Been Gone・Joe era: Spotlight Kid /Difficult To Cure/Street Of Dreams ・Solitary Stranger: Wolf To The Moon/Still I’m Sad/Black Masquerade/Ariel ・Others: OJ (Hey Joe)/Blues…And so it goes like this. There are songs like “Woman From Tokyo” which is only halfway through, and “Lazy” which is just a touch, but for comparison, I have organized them using the same criteria as “COMPLETE HOLLYWOOD 1997”. To put it bluntly, it sounds like “Maybe Next Time”, “Burn” and “Smoke On The Water” were removed from “COMPLETE HOLLYWOOD 1997”. Although it’s not a particularly moody feeling, the encore that suddenly starts “Street Of Dreams” after “Perfect Strangers” makes me feel “Huh? Already?”. “COMPLETE HOLLYWOOD 1997” was shocking with its sound that exceeded FM broadcasting and its length, but even with one complete show, it was not over yet. This work remains very similar in sound and content, and extends to the previous day, allowing you to fully experience “Hollywood 2 DAYS”. A moment when Richie was about to put an end to his career as a hard rock guitarist. The best audience recording of “March 17, 1997 Hollywood Performance” the day before the masterpiece “COMPLETE HOLLYWOOD 1997”. This is a newly discovered master that conveys a show that has not been recorded before, and the quality is shocking. It has a super tight and close-fitting sound that is very similar to “COMPLETE HOLLYWOOD 1997”, which was said to “surpass the soundboard”, and the vocals in this work are better and have a clearer outline. This work itself is a new masterpiece of Richie, who was shining at the end of his career as an HR guitarist, and together with “COMPLETE HOLLYWOOD 1997”, it is a sister work that allows you to experience the best of two nights in Hollywood. Live at Billboard Live, West Hollywood, CA, USA 17th March 1997 TRULY PERFECT SOUND Disc 1 (46:09) 1. Over The Rainbow 2. Spotlight Kid 3. Long Live Rock ‘n’ Roll 4. Mistreated 5. Wolf To The Moon 6. Difficult To Cure 7. Keyboard Solo 8. Still I’m Sad 9. Drum Solo Disc 2 (59:50) 1. Band Introductions 2. Man On The Silver Mountain 3. OJ (Hey Joe) 4. Temple Of The King 5. Black Masquerade 6. Blues 7. Ariel 8. Woman From Tokyo 9. Lazy 10. Since You Been Gone 11. Perfect Strangers 12. Street Of Dreams Ritchie Blackmore – Guitar Doogie White – Vocal Greg Smith – Bass Paul Morris – Keyboards John Micelli – Drums