Our KISS soundboard series has produced a series of historical masterpieces. ``REVENGE IN DAYTON'' shocked the collector world as the first of its kind, and was long loved as ``another ALIVE III.'' Introducing the ultimate edition that maximizes the possibilities of that super famous recording. Of course, what is engraved in this work is “November 25, 1992 Dayton Performance”. It is a transcendental stereo sound board recording. This sound source is truly shocking. And it was a sign of good progress. This is a source leaked master brought to us through our unique route, and not only has it been completely unknown until now, but the quality is also superb. It's a so-called mix table direct connection type, but it's no match for even a bunch of spills. It was a transcendental board that reigned at the highest peak. One possible reason for this is the relationship with "ALIVE III". In order to explain the meaning of this, let's first look back at the schedule at that time.・April 23rd – May 10th: North America #1 (13 performances) ・May 16th – 26th: UK (8 performances) [“REVENGE” released on May 19th] ・September 27th: Rehearsal “ REVENGE IS READY”・September 30th: Dress rehearsal “REVENGE TOUR PRESS SHOW 1992”・October 1st – December 20th: North America #2 (55 performances) ←★Here★ This is KISS in 1992. Although it started before the album was released, it is the re-started fall/year-end tour that will get into full swing. The Dayton performance of this work was the 38th concert of “North America #2”. "ALIVE III" was also recorded in the same "North America #2", and the locations were the following performances of this work: "Detroit (11/27)", "Indianapolis (11/28)", "Cleveland (11/29)". )” three locations. In other words, this work is an “Another” soundboard that is continuous with “ALIVE III” but does not overlap any song, and is (probably) a complete outtake that was recorded for “ALIVE III”. And while the quality is comparable to the official work, the individuality is completely the opposite. Simply put, the concept of the official work is a "musical work" and a "simulated concert experience." Editing and overdubbing are done without hesitation so that people of all ages can enjoy the work, and the cheers that create a concert-like mood are also refined. It's a very complete piece of music. On the other hand, a sound board connected directly to the table allows for 100% on-the-spot performance. The mix, which was not intended to be played on home audio, was wildly yet intensely separated, and the stereo panning was so dynamic that it seemed to fly from one end of the venue to the other. The strings plucked with a pick, the vibration of the skin, and the singing voice, including even the breath, are all fed into the brain without any processing. Moreover, this work is the highest peak of such a direct connection system. It's not so simple that if you record directly from the mix desk, it will always be amazing, but if you don't have top-notch staff, it will just end up being a mess. But that's KISS. If the performance is the best ever, the staff is top notch. Even when it explodes with raw power, the ensemble is impregnable, and no matter how wild the band is, the exquisite mix never wavers. It is truly a transcendent sound bow with “quality that is completely equivalent to ALIVE III” and yet “incomparable freshness”. Although it was unintentionally long, this work is the highest peak of such leaked soundboards. It is the ultimate specification that has been repolished with careful mastering. However, it did not reach the point of being ``completely different.'' Of course, it would be easy to get a lot of sound pressure and make it into something different, but that would be a blasphemy to the sound source. We simply repair "disturbances" such as pitch and phase deviations and noise. The accuracy has been increased to an unprecedented level. However, there were limits to his improvement, such as the original sound being too transcendent and the fact that he was not originally the type to pursue the sound of an instrument. At the time of the original sound, there was no room for anyone to be surprised by the difference. Regardless of the upload width, this work is definitely the ultimate. The ultimate sound that connects directly to the brain is a full show with a set that is different from "ALIVE III". Let's compare and organize them here. 70's Classics (11 songs)・KISS: Deuce/Firehouse(★)/Strutter(★)・HOTTER THAN HELL: Parasite(★)/Watchin' You/Hotter Than Hell(★)・DRESSED TO KILL: Rock And Roll All Nite・DESTROYER: Detroit Rock City/Shout It Out Loud (★)・ROCK AND ROLL OVER: I Want You (★)・LOVE GUN: Love Gun (★) Since the 80's (11 songs + α)・CREATURES OF THE NIGHT: Creatures of the Night/War Machine (★)/I Love It Loud・LICK IT UP: Lick It Up・ANIMALIZE: Heaven's On Fire・HOT IN THE SHADE: Forever・REVENGE: I Just Wanna/Unholy/Domino/Take It Off /God Gave Rock 'n' Roll To You II・Others: The Star-Spangled Banner *Note: Songs marked with "★" cannot be heard on the official version of "ALIVE III". ...and it looks like this. Although ``ALIVE III'' was a one-piece item, the amount has been greatly increased, mainly focusing on 70's classics. The official box "KISSOLOGY VOLUME THREE" also made official shots of the most recent Detroit performance, but the songs "Hotter Than Hell," "Firehouse," "I Want You," "Strutter," and "Shout It Out Loud" could not be heard there either. It's a repertoire. And the performance that spins such a set is the best. KISS is a band that doesn't mind editing or replacing, but this work is 100% authentic. The lineup, which includes Bruce Kulick and Eric Singer, is the best of all time in terms of technique, and the sense of each other's breathing is impenetrable. Despite the live performance with no replacements/all at once... no, rather, the coolness of the original is on full display. KISS dominated the scene without the help of makeup and once again reached their peak. This is a transcendent soundboard album that allows you to experience 100% of the “REVENGE” era, which was the last shine. Superb stereo soundboard recording of "November 25, 1992 Dayton Performance". Precisely mastered soundboard master leaked by related parties discovered through a unique route. The mix was wild yet intensely separate, and the stereo panning was so dynamic that it seemed to fly from one end of the venue to the other. The strings played with a pick, the vibration of the skin, and the singing voice that includes even the exhaled breath are all transferred to your brain without any processing.He is the ultimate master of Taku's direct lineage. This is a super masterpiece of the century, with repertoire that cannot be heard on "ALIVE III", such as a variety of 70's classics and "War Machine", being poured directly into your brain. Live at Ervin J. Nutter Center, Dayton, OH, USA 25th November 1992 STEREO SBD(from Original Masters) Disc 1(54:52) 1. Intro 2. Creatures Of The Night 3. Deuce 4. I Just Wanna 5. Unholy 6. Parasite 7. Heaven's On Fire 8. Domino 9. Watchin' You 10. Hotter Than Hell 11. Firehouse 12. I Want You incl. Drum Solo Disc 2(54:40) 1. Forever 2. War Machine 3. Rock And Roll All Nite 4. Lick It Up 5. Take It Off 6. Strutter 7. I Love It Loud 8. Detroit Rock City 9. Shout It Out Loud 10. God Gave Rock 'n' Roll To You II 11. Love Gun 12. The Star-Spangled Banner Paul Stanley - Guitar, Vocals Gene Simmons - Bass, Vocals Bruce Kulick - Lead Guitar, Vocals Eric Singer - Drums, Vocals STEREO SOUNDBOARD RECORDING
Free Shipping on Every Order!
