DEEP PURPLE in 1999 was a “hidden period of fulfillment” that only enthusiasts know about. Introducing a superb live album that reveals the unexplored area in detail. What is infused into this work is “July 24, 1999 Madrid Performance”. It is a transcendental audience recording that vacuum-packs the whole story. The biggest points of this work are the intense quality that makes the distinction between soundboard and audience meaningless, and the unique show that is different from any other era. Before we get into the details, let's talk about the show's position. Speaking of 1999, it was the "ABANDON" era, and in addition to the official live albums "AUSTRALIA '99" and "IN CONCERT WITH THE LONDON SYMPHONY ORCHESTRA", it is still fresh in our memory that our "PARIS 1998" was well received. In order to sort things out, let's take a look at the schedule at that time. 1998・January 28th-February 8th: North America #1/Central America (8 performances) [“ABANDON” released on June 2nd]・June 1st-July 12th: Europe #1 (27 performances) )←※PARIS 1998・August 4-30: North America #2 (20 performances)・September 15-November 28: Europe #2 (39 performances) 1999・March 19-April 4 Sunday: South America (12 performances) April 16th - May 1st: Australia/Malaysia (10 performances) ← *AUSTRALIA '99 (official) June 4th - July 31st: Europe #3/Korea ( 31 performances) ←★Here★・September 25th + 26th: London (2 performances) ←※WITH THE LONDON SYMPHONY ORCHESTRA (official) [A transcendental sound that goes beyond description] This is the DEEP PURPLE of 1998/1999 . The Madrid performance of this work is between the two official live works. This was the 27th concert of "Europe #3". This work recorded at such a show is exactly the best recording with “super”. It's also the kind of thing that makes you want to line them up one after the other, saying "super super...". Anyway, it's the type that goes "like a sound board" on the ground, extremely thick, close-fitting, super delicate...hmm, can you convey it in words like this? No matter how much I try to say it all, I end up listing every beautiful phrase I can think of like a Japanese dictionary. Is it okay to say that ``even official works are historical masterpieces''? I'm not sure what made such a great sound possible, but the venue may have its own secrets. The venue was “Cubierta de Leganes”, and I didn’t know much about it, but it was a modern arena with a retractable ceiling (!). The ceiling was probably open on this day, creating an open space. It's so tight that you can barely hear the sound of the hall, and even when you listen to it with headphones, the loud cheers only feel like the swells of a distant ocean. In any case, the fact that there is a venue on earth that can record with such a sound is surprising. Bands from all over the world should fly to Madrid right now and record the audience at this venue... It's an unexperienced sound that makes you want to say something you don't understand. [A jaw-dropping opening and a full show] Such a miraculous sound depicts a mature performance that is fulfilling both physically and mentally, and a unique set. As mentioned above, it is also about 3 months after the official edition "TOTAL ABANDON: AUSTRALIA '99", so let's compare and organize. 70's Classics (8 songs) Machine Head: Pictures of Home/Space Truckin' (★)/Lazy/Smoke on the Water/Highway Star Others: Speed King/Strange Kind of Woman/Woman From Tokyo After reunion (4 Song + α)・Perfect Strangers・Purple Proof: Vavoom: Ted the Mechanic/Sometimes I Feel Like Screaming・Abundant: '69 (★)・Others: The Boys Are Back In Town (★) *Note: Songs marked with “★” are not available on the official edition “TOTAL ABANDON: AUSTRALIA '99”. ...and it looks like this. "'69" from "ABANDON" is also rare, but the opening is the most special one. The song that the members appear on and slowly perform is THIN LIZZY's "The Boys Are Back In Town"! The real opening number is “Pictures of Home,” which only plays for about a minute and a half as an intro, but it really catches everyone by surprise. During this period, there were various performances such as "Hush" and "Woman from Tokyo", but this one had a huge impact. Just the sound of that riff makes me go, "Huh?", and I never expected that Gillan, who even rejected "Burn," would scream out his junior band's signature song. It is an arrangement that was played only in 1999, and only in “Europe #3/Korea”. Of course, the subsequent classics are also wonderful. The improvisations are very varied and colorful, and the ensemble itself is extremely smooth and fluid. You could say he's mentally stable, or you could say he has the composure of a champion, but he doesn't feel tired in the slightest, and he truly enjoys playing. The period from 1996 to 2000 did not leave a strong impression on me, perhaps because there was a gap between visits to Japan, but as I listen to the records left behind, I can clearly see that it was a uniquely productive period in the history of Purple. . This work is a miraculous live album that allows you to enjoy such a “hidden golden age” with transcendental sound. Anyway, this is a live album that will surprise you with the opening, the transcendent sound, and the relaxed and mature show. It is an era of great fulfillment that only those in the know know about because it has nothing to do with the sensations that attract everyone's attention. A miraculous book that allows you to experience the scene in a transcendental way. Cubierta de Leganes, Madrid, Spain 24th July 1999 ULTIMATE SOUND Disc 1 (60:40) 1. The Boys Are Back In Town ★ 2. Pictures of Home 3. Vavoom: Ted the Mechanic 4. Strange Kind of Woman 5. '69 6. Woman From Tokyo 7. Sometimes I Feel Like Screaming 8. Space Truckin' 9. Guitar Solo 10. Lazy Disc:2 (44:37) 1. Steve Morse Riff Parade 2. Smoke on the Water 3. Keyboard Solo 4. Perfect Strangers 5. Speed King 6. Highway Star Ian Gillan - Vocals Steve Morse - Guitar Roger Glover - Bass Jon Lord - Keyboards Ian Paice - Drums
Free Shipping on Every Order!
