Rainbow/France 1977 2Source Version

From the European tour that RAINBOW conducted in 1977 after the release of “ON STAGE”, the performance at “Pavillon des Paris” in Paris, France on October 27th will be the first appearance of an ultra-high-quality audience recording and a previously released same-day sound source. Introducing a 4CD Collector’s Edition that includes the top-of-the-line audience master. This work, which is a package of one live performance with the highest quality disc that can be used as a broadcast sound source and the direct sound unique to the best audience recording, will bring a sensational topic to all RAINBOW fans! After wrapping up their 1976 tour with their legendary first performance in Japan, RAINBOW immediately began working on a new album and a new tour in January 1977. First of all, a member change was made, and keyboardist Tony Carley and bassist Jimmy Bain were fired. Jimmy was replaced by Mark Clarke, who had previously worked with URIAH HEEP and COLOSSEUM, but it was difficult to find a replacement for Carley, and according to tour manager Colin Hart, they decided to “re-hire” Carley. Apparently something happened. Recording began in March, but Ritchie was dissatisfied with Clark’s bass and fired him, and Carley also left the band due to personal problems he was having at the time and discomfort within the band. This brings us to Since recording was forced to be halted, the band released the live album “ON STAGE” instead, postponing the release of the new album, and the live show, which was scheduled to start in the United States in August, will now start with a tour in Northern Europe in the latter half of September. has been rescheduled. As a result of auditioning a number of players for this tour, David Stone, formerly of Canada’s SYMPHONIC SLUM, will be on keyboards, and Bob Disley, formerly of WIDOWMAKER, will be on bass. After preparing themselves, the band headed to Helsinki, Finland, which was scheduled for the first day of the tour, but the show on September 23rd was ultimately canceled because their equipment was detained at the airport customs. After many twists and turns, the tour began with the Stockholm, Sweden performance on September 25th. The Paris performance recorded in this work is the middle of the tour, and is the 23rd performance out of a total of 40 performances. This Paris performance on October 27th is famous for a shocking incident in which the promoter was hung naked in the air. Existing sound sources such as “PARISIAN NIGHT” and “OUTRAGEOUS NIGHT” are known as excellent audience sources that rival their popularity. In particular, “OUTRAGEOUS NIGHT” is a good source that is clear and has little distortion, and has been praised by fans as exceeding even the long-standing standard “PARISIAN NIGHT.” The main source recorded on Discs 1 and 2 of this work that appears this time is a different master sound source of a new excavation that is different from either of the above, and it is the finest material that surpasses even these past masterpiece titles. The sound is extremely clear and bright, and contains just the right amount of atmosphere and echoes from the venue, at a level that approaches recent DAT recordings, and the exquisite distance between the taper and the stage provides an ideal balance to enjoy the performance. I will let you In particular, Richie’s guitar, which is captured in detail in each note, and Ronnie’s clear vocals, which sound like line recordings, are sure to astonish all fans the moment they hear it! In the master, there were some omissions in the opening and part of “Mistreated”, so they were compensated for with the sound source used on Disc 3, but from “Over The Rainbow” to “Kill The King” where the new master appears, The listener will suddenly realize how great it is (the joints are very natural, and the change in sound gives the impression that the taper slightly hides the equipment). Even in the heavy “Mistreated”, the sound does not lose its balance, and is reproduced with the same power and sound image that was heard at the live venue. On this day, perhaps Richie was also excited about the bold action of “promoter hanging”, and the songs that were played longer than usual caught the ear even though they were familiar numbers. In particular, “Catch The Rainbow” heard with the original sound source is indescribably wonderful. The sound image reproduces the contrast between the delicacy in the first half and the dynamic explosive power from the middle onwards with outstanding freshness and brightness, and will surprise the listener, saying, “I’ve never heard such amazing “Catch The Rainbow”!” The guitar solo is of course worth listening to, and I am once again impressed by the splendor of Ritchie’s phrasing sense (according to Ronnie’s recollections, it was during the performance of “Catch The Rainbow” that the “hanging incident” occurred). However, unfortunately, the circumstances of the “incident” are not clearly known.) Richie’s guitar is also played out with an exquisite tone in “Man On The Silver Mountain” and “Blues”. From this point on, the sound quality improves more and more, and both the performance and the sense of realism give you the illusion that you are listening to a broadcast sound source. The sound that can be heard at the beginning of the song, where the excitement of the venue swells and surrounds the listener, really gives you goosebumps. “Still I’m Sad,” which is the highlight of the live performance, is of course the best, and David’s keyboard solo, which has a spacey feel similar to Don Airey, and Cozy’s solo, are incredibly powerful and clear. It will knock your hand out. This sound source has no exaggeration and is the best take ever from RAINBOW’s ’77 live. The performance and sound will leave fans stunned until the encore “Do You Close Your Eyes”, where the guitar crash explodes, will make any hard rock fan fall to their knees! On discs 3 and 4, the sound source that became the previously released masterpiece audience source “PARISIAN NIGHT” is converted into a disc from the original master obtained through a unique route. Although the previously released “PARISIAN NIGHT” had sufficient clarity, I was concerned about the sound quality being somewhat distorted. Therefore, this sound source takes advantage of its inherent outlook and freshness of sound, while reducing distortion by remastering and finishing it as the best material with tightly adjusted tape speed. (In the previous releases, there were parts that were recorded as guitar solos etc. on both discs, but there are no such parts on this disc.) Compared to the main new master, the tone feels rounder, and the liveliness seems to be an audience recording. The rich sound, such as the direct sound image that makes you feel the sound, has a charm that is difficult to judge. Perhaps due to the difference in the recording position of the taper, it is interesting to note that the bass sounds are thicker here, and Cozy’s drums are more powerful, and Bob Disley’s bass can be heard with a clear tone. The analog mellowness of “Mitreated” and the full-bodied sound of “16th Century Greensleeves,” as well as “Catch The Rainbow,” which has a vintage feel to it, still appeal to me even though I acknowledge the greatness of the new master. There are some things that can happen. Some people may say that “Long Live Rock ‘N’ Roll”, which includes interaction with the audience, prefers the original sound source because it has a more unified sound. “Still I’m Sad,” which opens with Ritchie’s chiseling guitar, does not match the symmetry of the new master broadcast sound source, but it impresses the listener with the responsiveness and juicy texture that only a good audience recording can provide. It will captivate you. The guitar crash in the encore “Do You Close Your Eyes” is recorded with a roar like thunder striking in front of you. This is a hard punch that you can only feel because it’s a real sound source with a lot of volume in the bass, and it’s sure to leave all listeners stunned! The outro “Over The Rainbow” is recorded longer here than the new master. The melody that gradually recedes into the silence will especially enhance the afterglow of the live performance. This time, we have taken a step back to the splendor of the new master, which is the main one, but it is a first-class recording that would have become a sensational topic with just discs 3 and 4! The frenzied RAINBOW live performance that roared through the revolutionary capital of Paris will make all listeners experience the intense ferocity that echoes the title of this work! Please enjoy the powerful power of “Kill The King” with two types of audience materials, both newly discovered sound sources and the top master, both of which are exquisite! This is definitely the strongest and best 4-disc set of RAINBOW’s ’77 tour sound sources, which have appeared in various titles so far! Live at Pavillon de Paris, Paris, France 27th October 1977 PERFECT SOUND(Source #1) / TRULY AMAZING SOUND(Source #2) Source #1 Disc 1 1. Intro. 2. Over The Rainbow 3. Kill The King 4. Mistreated 5. 16th Century Greensleeves 6. Catch The Rainbow 7. Long Live Rock ‘n’ Roll Disc 2 1. Lazy Intro 2. Man On The Silver Mountain 3. Blues 4. Starstruck 5. Man On The Silver Mountain(reprise) 6. Keyboard Intro. 7. Still I’m Sad 8. Beethoven 9th 9. Keyboard Solo 10. Drum Solo feat. 1812 Overture 11. Still I’m Sad (Reprise) 12. Guitar Intro. 13. Do You Close Your Eyes 14. Over The Rainbow Source #2 Disc 3 1. Intro. 2. Over The Rainbow 3. Kill The King 4. Mistreated 5. 16th Century Greensleeves 6. Catch The Rainbow 7. Long Live Rock ‘n’ Roll Disc 4 1. Lazy Intro 2. Man On The Silver Mountain 3. Blues 4. Starstruck 5. Man On The Silver Mountain(reprise) 6. Keyboard Intro. 7. Still I’m Sad 8. Beethoven 9th 9. Keyboard Solo 10. Drum Solo feat. 1812 Overture 11. Still I’m Sad (reprise) 12. Guitar Intro. 13. Do You Close Your Eyes 14. Over The Rainbow Ritchie Blackmore – Guitar Ronnie James Dio – Vocal Cozy Powell – Drums Bob Daisley – Bass David Stone – Keyboards