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“THE
RHAPSODY TOUR” by QUEEN + Adam Lambert, who continues to excite
sound source enthusiasts even after the Japan tour.
The
definitive ultra-superb original recording is the first
appearance.
What is
engraved on this work is “January 28, 2020: Kyocera Dome Osaka”.
It is a transcendent audience recording.
At our shop, we
start with a preliminary report during the tour, and now we are
introducing the top recording of each show on the press CD.
In this work, the west Japan edition in the latter half of the
tour has also been permanently saved, and the top works of all
the shows
have been completed. First, let’s organize the
collection by dates.
・ January 25 “SAITAMA SUPER
ARENA 2020 1ST NIGHT”
・ January 26 “SAITAMA SUPER ARENA 2020
2ND NIGHT”
・ January 28:
“OSAKA 2020” ← ★ This work ★
・ January 30 “NAGOYA 2020”
* Note: Only the vertex press
album on each day.
[Complete
first appearance master that is super fine even without
processing] More than 4 performances. The top works of the Kanto
edition released last week, “SAITAMA SUPER ARENA 2020 1ST NIGHT
(Wardour-401)” and “2ND NIGHT (Wardour-402)” have been very well
received, but this week and “NAGOYA” 2020 (Wardour-404)] also
appeared. All performances can now be enjoyed on permanent
preservation press CDs. This work is special even in such a
press series. As a matter of fact, the other three performances
are the ultimate form of re-mastering the Uxbridge master, which
was released as a preliminary release. It was at the top of the
recording that was sent right after the show, but eventually no
more masters came out. But only Osaka was different. This work
is genuine and completely first appearance master. I also
mastered the masterpiece “OSAKA DOME 2020 (Uxbridge 1203)” which
was a preliminary release, but this work is a super-excellent
recording that surpasses the original mom!
In fact,
the quality is transcendental. Anyway, the core is strong and
there is no sense of distance. In the MC between the songs, I
can feel the sound of the venue echoing the sound of Adam, but
when the performance starts, I can hardly feel the sound of the
venue. Strictly speaking, there is also a sound, but the density
of the core is too high, the details are vivid and detailed, so
it feels transparent. Moreover, it is extremely natural.
“SAITAMA SUPER ARENA 2020 1ST NIGHT” and “2ND NIGHT” and “NAGOYA
2020” of this week have been finished as natural as possible,
but they are not unprocessed. If you’re an audio savvy person,
you might have felt the peak of the guitar when listening
microscopically with headphones. However, this work does not
even exist. While reproducing the Kyocera Dome space naturally
and faithfully, the vividness is unmatched by a dome recording.
That
should be it, the record of this work is “Western Japan’s
strongest taper” familiar in our shop. Although it is no longer
a self-explanatory master, this work is out of his collection.
The “strongest” collection, which is always reputed as “sound
board” and “sound better than the site”, is mostly a club or
hall. The recording of the dome was above average, but at a
level that was “great for a dome.” However, this work achieves
“that sound” in the dome which is mistaken for a hall recording!
Furthermore, audience noise is also a special note. This time,
“THE RHAPSODY TOUR” is a tremendous popularity since the 1980’s,
and famous recordings in various places have also absorbed the
enthusiasm. Even in the Uxbridge board “OSAKA DOME 2020”, which
we reported the other day, we heard applause and conversation.
However, this work has very few of them. Although it is not
possible to say “none” like “the strongest” hall recording, he
can soak in the stage performance and Adam’s singing voice as
incomparable with other works.
[Permanently preserved glorious Osaka performance]
ショ The show drawn with the
sound is a treasure chest of the ultimate masterpiece. In the
past two visits to Japan, we changed the set on a daily basis,
but this time it is almost common for the four performances in
Tomei Osaka. The contents of the set that had the largest number
of songs in the past have been repeated many times, so let’s
organize the set based on the past Osaka performances here.
●
Songs played in the previous
Osaka (2014)
・ Now I’m Here / Seven Seas of Rhye / Killer
Queen / Somebody to Love / Another One Bites the Dust / Love of
My Life / Crazy Little Thing Called Love / Under Pressure / Who
Wants to Live Forever / Radio Ga Ga / Bohemian Rhapsody / We
Will Rock You / We Are the Champions
・ Limited to Japan: Teo
Torriatte (Let Us Cling Together) / I Was Born To Love You
●
The song that was unveiled in
Osaka this time
・ Since 1998 (Brian’s solo): I Want It All /
The Show Must Go On / ’39 / Hammer to Fall / Tie Your Mother
Down
・ Since 1985: Keep Yourself Alive / Dragon Attack / I
Want to Break Free
・ Since 1979: Don’t Stop Me Now / I’m in
Love With My Car / Bicycle Race
・ Since
1976: In the Lap of the Gods … Revisited / Doing All Right
…
and it looks like this.
Looking at Osaka only, the last time was QUEEN + Adam’s first
visit to Japan (2014), and before that the party played the
QUEEN number on Brian’s “ANOTHER WORLD TOUR”. Before that was
Freddie’s last “THE WORKS TOUR”, and there were plenty of famous
songs since the 70’s / 80’s. Especially valuable are “I Want It
All” and “The Show Must Go On”. It was performed on Brian’s solo
tour in 1998, but this is Osaka for the first time under the
name of QUEEN. The solo venue was the IMP Hall, so most people
would have seen live music for the first time.
And
performance is also fulfilling. This show is the fifth
performance in 2020, including the Korean performance just
before coming to Japan.
No matter how big a veteran is, it is
necessary to step on the number of performances before it can
show its essence, and this performance in Japan is at a stage
where the performance is getting better. Although it is general
theory, the 5th performance is just when the set gets used to
the body and full-scale driving starts, and from this work you
can also feel the ensemble of the rising tone.
THE “THE
RHAPSODY TOUR” which caused enthusiasm in Higashi Meihan
comparable to its heyday. I think many people will want to
record audiences as a memory of a concert they actually went to,
but the quality of this work is beyond that dimension. A super
masterpiece that stands at the top not only of direct feeling
but also of overwhelming natural feeling among the four press
titles that match masterpieces. It is an inevitable live album
that anyone who has seen any show should experience.
