Description
Recently, the 1995 Japan tour has been a succession of amazing new discoveries. A superb original recording set that completes the collection is now available. This work contains the best audience recordings of the “November 16, 1995: Osaka Prefectural Gymnasium” performance and the “November 19: Osaka Festival Hall” performance. It is a four-disc set of two Osaka performances by the same recordist. Some of you may already know the name. This work was created by a master who worked on the famous recordings of Fukuoka, Kyoto, and Nagoya that were released recently and received great reviews. It is a masterpiece that was directly digitized from a treasured master that was taken out of the collection. Let’s check which shows are by the same recordist by checking the schedule for Japan.・November 11th “FLY BY NIGHT (Yoyogi)”・November 12th “RETURN OF THE BLACK (Yoyogi)” *November 14th “KYOTO 1995: DAT MASTER” *November 16th: Osaka Prefectural Gymnasium ←★This work DISC 1-2★ *November 17th “NAGOYA 1995 DAT MASTER” *November 19th: Osaka Festival Hall ←★This work DISC 3-4★ *November 20th “FUKUOKA 1995 DAT MASTER” ・November 22nd “KILLING FLOOR (Yokohama Bunka Gymnasium)” ・November 23rd “ELECTRIC EVER (NK Hall)” *Only representative recordings for each day. “*” marks are original DAT collections by the same recording artist. The above nine performances were in the order of “Kanto (2 performances) → Western Japan (5 performances) → Kanto (2 performances)”. The two Osaka performances in this work are shows that connect Kyoto, Nagoya, and Fukuoka, and by combining the three famous titles, it has become possible to pass through the five performances in Western Japan in the same recording artist collection. I’m sure you are well aware of this master’s technique, but this work is also a masterpiece that answers those expectations. In fact, the two Osaka performances are also known for masterpieces such as “OSAKA 1995 1ST NIGHT” and “TEARS IN BLACK”, but this work is a completely different recording. Compared to the “KYOTO 1995 DAT MASTER” that caused a sensation the other day, the hall sound is also sucked in, but it is not a sense of distance (at all!). While adding dynamism to the rugged core spit out from the PA, the details are not hidden (at all!). The key to this is the rushing force of the core. It reaches straight through the sound and is thick. Although it never pierces your ears, the rushing power of the sound does not make it feel cloudy, and you can enjoy the thickness and gorgeousness of the sound. Moreover, the deliciousness reaches even the deep bass. To be honest, it is natural that the “top” such as guitar, keyboard, and vocals have a rushing power, but this work is clear even to the bass. The outline of each attack sound stands out beautifully, and it is clear that they are connected to spin a melodic line. This does not mean that you can “somehow hear it” or “you can follow it properly”. Even if you ignore the bass, it flows into your ears as a counter melody and feels like a skin-touching groove. It is a rare recording that asserts the reality unique to the audience, while testifying to the official work level of each individual sound. Such a superb sound depicts two performances in Osaka with completely different personalities. To make it easier to compare with the Kyoto and Fukuoka releases, let’s break it down into “fixed songs” and “daily songs”. Fixed songs (12 songs) ・Lonely Stranger: Too Late For Tears/Hunting Humans/Wolf To The Moon/Still I’m Sad/Black Masquerade/Ariel/Hall Of The Mountain King・Others: Difficult To Cure/Temple Of The King/Since You Been Gone/Perfect Strangers/Burn Daily songs (7 songs + α) ・Semi-fixed songs: Spotlight Kid/Long Live Rock’n’Roll/Man On The Silver Mountain (only on the second day) ・Variable position songs: Street Of Dreams/Stone Cold/Maybe Next Time/Smoke On The Water (only on the second day) ・Others: Traditional Song (only on the first day)/Waltzing Matilda (only on the first day)/Greensleeves (only on the first day) … and so on. The individuality of the set is the selection of “daily songs”, but this is completely different on the two days in Osaka. The first day in Osaka (DISC 1-2) was, so to speak, a “playful day”. In 1995, they played various traditional songs for fun, taking advantage of the personality of Doogie White, who is good at improvisation, but on this day they performed three songs, including “Waltzing Matilda”, which is said to be the Austrian national anthem, and the familiar “Greensleeves”. Instead, the second day in Osaka (DISC 3-4) was a set that could be called a “fan service day”. They had prepared seven daily songs to play in full, and they played all of them. They only played all seven daily songs three times: on the “second day in Tokyo”, “Kyoto”, and “second day in Osaka” (by the way, there were also days when they covered “Black Night”, “Woman From Tokyo”, and “Rainbow Eyes”, but those were just playful performances). On the first day, Richie is in a good mood and plays a lot of playful songs, while on the second day, he plays out the original songs he has prepared as tight as possible. This is a four-disc set that allows you to experience the two days of Osaka, which have different moods and flavors, in the best way possible with the same recording artist’s collection. Furthermore, if you combine it with the famous albums “KYOTO 1995 DAT MASTER”, “NAGOYA 1995 DAT MASTER”, and “FUKUOKA 1995 DAT MASTER”, you can experience five consecutive performances in Western Japan all at once with a series collection. This is a must-have entertainment masterpiece. A superb audience recording set of the “November 16, 1995: Osaka Prefectural Gymnasium” performance and the “November 19: Osaka Festival Hall” performance. It is the same recording artist collection as the famous albums “KYOTO 1995 DAT MASTER”, “NAGOYA 1995 DAT MASTER”, and “FUKUOKA 1995 DAT MASTER”, and the quality is wonderful without tarnishing the gold sign of the master. Combined with the above three titles, this is the latest work in the miracle series that allows you to complete the Western Japan performance with the best sound. Osaka Furitsu Taiiku Kaikan, Osaka, Japan 16th November 1995 PERFECT SOUND(from Original Masters) Osaka Festival Hall, Osaka, Japan 19th November 1995 PERFECT SOUND(from Original Masters) Live at Osaka Furitsu Taiiku Kaikan, Osaka, Japan 16th November 1995 Disc 1 (69:54) 1. Intro 2. Land Of Hope And Glory 3. Over The Rainbow 4. Spotlight Kid 5. Too Late for Tears 6. Long Live Rock ‘n’ Roll 7. Hunting Humans 8. Wolf to the Moon 9. Difficult to Cure 10. Keyboard Solo 11. Still I’m Sad 12. Drum solo 13. Street of Dreams 14. The Temple of the King 15. Black Masquerade Disc 2 (47:15) 1. Ariel 2. Since You Been Gone 3. Perfect Strangers 4. Traditional Song/Waltzing Matilda 5. Hall Of The Mountain King 6. Maybe Next Time 7. Stone Cold 8. Burn 9. Greensleeves 10. Over The Rainbow Live at Osaka Festival Hall, Osaka, Japan 19th November 1995 Disc 3 (76:43) 1. Land Of Hope And Glory 2. Over The Rainbow 3. Spotlight Kid 4. Too Late for Tears 5. Long Live Rock ‘n’ Roll 6. Hunting Humans 7. Blues 8. Wolf to the Moon 9. Difficult to Cure 10. Keyboard Solo 11. Still I’m Sad 12. Drums Solo 13. Man on the Silver Mountain 14. The Temple of the King 15. Black Masquerade 16. Ariel Disc 4 (45:33) 1. Street of Dreams 2. Since You Been Gone 3. Perfect Strangers 4. Stone Cold 5. Hall Of The Mountain King 6. Maybe Next Time 7. Smoke on the Water 8. Burn 9. Over The Rainbow Ritchie Blackmore – Guitar Doogie White – Vocal Greg Smith – Bass Paul Morris – Keyboards Chuck Burgi – Drums Candice Night – Vocal
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