The birth of a new label dedicated to Ritchie Blackmore. The first project that will serve as a business card is BLACKMORE'S NIGHT, which Richie has been passionate about for nearly 20 years. It is also an audience album that includes “November 4, 1997, Kobe International Hall Harborland Plaza Performance” from the first performance in Japan in 1997. First, let's take a look at the tour schedule for their first visit to Japan. ・November 2nd: Nakano Sunplaza ・November 3rd: Aichi Welfare Pension Center ・November 4th: Kobe International House Harborland Plaza [This work] ・November 6th: Hiroshima Postal Savings Hall ・November 7th: Osaka Festival Hall ・November 8th: Tokyo International Forum ・November 10th: Kanagawa Kenmin Hall ・November 11th: Sendai Sunplaza Hall In this way, there will be a total of 8 performances in Japan. This work contains the third day of the tour. However, this is not just "Japan's third time". BLACKMORE'S NIGHT's first stage was a secret gig on Long Island, but the European tour that was scheduled after that was canceled due to an injury to Richie's finger. In the end, Japan became the first tour in the world. In other words, what is included in this work is BLACKMORE'S NIGHT's third public performance. It's not just the band that's valuable. The site was the now-defunct Kobe International Hall Harborland Plaza. It was a temporary venue created to keep the flame of culture alive until the Kobe International Conference Center, which was completely destroyed in the Great Hanshin-Awaji Earthquake, was rebuilt. However, even though it was a temporary venue, it had a capacity of 1,900 seats, almost the same as the old Kobe International Hall, and had excellent sound and equipment. The sound of this work is a wonderful audience sound that proves that the acoustics of Harborland Plaza were wonderful. Acoustic BLACKMORE'S NIGHT tends to have a light and thin sound, but this work has a solid core down to the bass. Although it cannot be compared to the deep bass of a rock band, it firmly supports Richie's delicate fingertips and beautifully captures the Renaissance world filling the venue. Its expanse also suits BLACKMORE'S NIGHT well. At the venue, the mood was dominated by Richie's new musical world away from rock, but Candace Knight's soft singing voice echoed through the tense, clear air. Normally, if you talk too much about venue reverberation and spatial sensation in audience recording, you will think that the sound is vague, but there is no need to worry about that with this work. The spectacle that spreads through the space is an important element, as the music emphasizes moods that transcend time and space rather than the clash of musicians scattering sparks. The richness of the world is completely different depending on whether this reverberation is present or not. And, the reverberation of this work is the best of the best. The beauty of the pipe organ-style solo that pours down on “Under A Violet Moon” and the sharpness of Richie’s phrases that only get hot when you receive it. The sad melody of “Temple Of The King” pours into the air… how wonderful…. Moreover, it was only through the skill of the recorder that we were able to capture the transparent sound of Harborland Plaza. Taper is a master who gave us terrifyingly high sound quality on David Bowie's recently released "A REALITY IN OSAKA: THE LAST CONCERT IN JAPAN", and he directly uses the master given to him by David Bowie. I did. The technique is wonderful, but the reason why it has not lost any of its freshness is because it is the original master. The audience at Harborland Plaza, who had been nervous about Ritchie's new Renaissance world, gradually warmed up. The encore electric set is where the excitement flares up all at once. As soon as you strum a single note on your Stratocaster, the world transforms into a dazzling rainbow of colors. From the familiar “Still I’m Sad” to “Difficult To Cure”. Then, from “Destiny”, we move on to a dynamic bass solo, a solemn and classical keyboard solo, and Richie also burns hot and hot with “Writing On The Wall”. This vivid flow and wonderful composition are definitely the very essence of the Blackmore music that we have loved. In the familiar world of electric, you will once again be able to sigh at the superb sound of this work. Although the hardness of Candice's third performance can be seen, it is an exquisite Live in Japan that spreads the beautiful Renaissance world with wonderful acoustics. After that, the music world that would become Ritchie's life work for 19 years was about to blossom. Please enjoy this exquisite piece that is suitable for the beginning of a new label. Live at Kobe Harborland Plaza, Kobe, Japan 4th November 1997 TRULY PERFECT SOUND(from Original Masters) Disc 1 (41:08) 1. Intro. 2. Shadow Of The Moon 3. Be Mine Tonight 4. Play Minstrel Play 5. St Teresa 6. Minstrel Hall 7. Under A Violet Moon 8. Temple Of The King Disc 2 (45:19) 1. 16th Century Greensleeves 2. Renaissance Faire 3. Mond Tanz 4. Ariel 5. The Clock Ticks On 6. Still I'm Sad 7. Difficult To Cure 8. Bass Solo 9. Keyboard Solo 10. Writing On The Wall Ritchie Blackmore - Guitars Candice Night - Vocal Jessie Haynes - Guitars Mick Cervino – Bass Joseph James - Keyboards John O. Reilly - Drums
Free Shipping on Every Order!
