Mochiobase CD
Jeff Beck Jeff Beck/Osaka,Japan 12.5.1980 Upgrade
Jeff Beck Jeff Beck/Osaka,Japan 12.5.1980 Upgrade
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Jeff Beck made his fourth visit to Japan in 1980 with the classic album "There and Back". This is an upgrade of the superb recording that is considered to be his masterpiece. The masterpiece was recorded at the Osaka Prefectural Gymnasium on December 5, 1980. This is a superb audience recording of the entire show. This is the same recording known for "THE MOVING FINGER," a masterpiece among masterpieces that dominated the world with its amazing sound quality. 1980 was the year when Jeff's Japanese spirit was at its peak. We have been archiving the scene with a number of masterpieces. First, let us look back on those days and organize our collection. December 4 "TOKYO 1980 1st NIGHT/CYCLONE (Nippon Budokan)", December 5: Osaka Prefectural Gymnasium [this work], December 8: Kyuden Memorial Gymnasium, December 9: Kurashiki Memorial Hall, December 10 "Here, There and Back (Osaka)", December 11: Nagoya City Public Hall December 12: Miyagi Prefectural Hall ・December 14: Doritsu Sangyo Kyoshin Kaikan ・December 16: "THE DEFINITIVE FINAL PEACE/CYCLONE (Yokohama)", December 17: "MIRACLE FINGER/CYCLONE (Nippon Budokan)", December 18: "CYCLONE ( (Nippon Budokan)" *Note: Only representative works on each day. Total of 11 performances. From Sapporo in the north to Fukuoka in the south, the festival traversed the archipelago at famous venues representing each region. Although Jeff still boasts strong popularity even today, the number of performances at this time is the largest in his career, and this alone is a schedule that reveals his peak performance. The Osaka show was the second show in the first half of the tour. THE MOVING FINGER", which recorded such a show, is truly a superb work. The sound quality is superb. Although the sound of the snare sounded audience-like, the core of the sound was glossy and robust, with an overwhelming sense of responsiveness, as if you could almost touch the sound. Moreover, the detail is ultra-sensitive. The contours are not just clear, but the edges are sharp and extremely sharp. Even light cutting, arcing arming, and fine vibrato are transmitted at the level of waveform vibration. Moreover, it can be felt all over the guitar strings, bass strings, and drum skins, and they dance wildly without mixing together and remaining nicely separated. It is absolutely soundboard-like in its vividness, but it is not exactly the same as the PA output sound. The faint hall rumblings, which you can only notice if you listen carefully with headphones, are also absorbed, but they are not clouded or muddy in any way. Rather, it gives the sound a metallic sheen and creates a smooth sharpness to the sharp edges. It is a brilliant sound like a Japanese sword made by a master craftsman. It is no wonder, then, that this recording was made by one of Japan's most legendary recording artists, who in the 70s and 80s was responsible for some of the best recordings of the Stones, Mick Jagger, Eric Clapton, David Bowie, Pink Floyd, and many other famous Japanese musicians visiting Japan, and who also set the Japanese audience standard. It is no exaggeration to say that he has set the audience standard in Japan. THE MOVING FINGER" is one of the best recordings in the legendary collection. And this is the story of THE MOVING FINGER. This work was digitized again from the original master of such legendary recording and updated to the highest peak. The previous digitization was about 10 years ago, and the latest equipment has been used to bring out the full potential of the miracle master. The sound is the ultimate. It is not as if it were a completely different product, since the sound quality was already super high (changing it would ruin the miracle), but the detail has definitely been improved. Not only are the mids and highs more vibrant, but the bass, which was not picked up in the original release, is fuller. The bottom range, which had been somewhat narrow, is now much wider, and the response sounds richer and more dynamic without losing its sharp clarity. The beauty of the sound has been simply enhanced, and the sense of presence has been greatly improved along with it. The sound of the previous album was said to be "the world's best sound of the 'there and back' era," but it is now "even better" and a reality. The show with such a high peak updated sound is also wonderful. The masterpiece "TOKYO 1980 1st NIGHT" from the first night was also a great success, but the show in Osaka was definitely better. Jeff played all over the place, not without making mistakes, but he was really upfront. The second half of the show was more and more heated. The middle part of "Blue Wind" was interrupted by a phrase from "She's A Woman," and "You Never Know" was much longer than the first day in Tokyo. The last song "Going Down" was also quite lively, and you could see Jeff's expression of good mood from every part of the performance. The members surrounding Jeff also performed enthusiastically. Simon Phillips' powerful drumming on "Space Boogie" and his interplay with Mo Foster on "Freeway Jam" were superb. Tony Hymas also delivers a wonderful solo on "Diamond Dust. The greatest point of this album is the miraculous and superb sound, but the performance itself is also one of the best in the 1980 Japan tour. The performance itself is also one of the best in the 1980 Japan tour, especially the first half of the album. This is a superb recording that has been called "the greatest treasure of Japan tour recordings" and "the world's best recording of 1980. This is a miraculous masterpiece that recreates all of the sound that was absorbed into the master cassette using the latest technology. The magnificence of this recording goes beyond soundboard or audience, official or unofficial. If you want to listen to Jeff Beck from the "There and Back" era, this is the first thing you should do. This is a masterpiece of a live album that should be called a cultural heritage of guitar history. (Remastering note) The sound quality is so high that there is no way to adjust the mid-high range, so I changed the bass balance to widen the bottom range. Although the adjustment is difficult to understand, if you compare it with El Becko around 2:30, you can see that the sense of presence has been greatly improved. Live at Osaka Prefectural Gymnasium, Osaka, Japan 5th December 1980 ULTIMATE SOUND(from Original Masters) Disc 1 (39:40) 1. Intro. 2. Becko 4. Too Much To Lose 5. The Pump 6. Cause We've Ended As Lovers 7. Space Boogie 8. Led Boots Disc 2 (57:10) 1. Drum Solo/Scatterbrain(reprise) 5. Blue Wind 6. Goodbye Pork Pie Hat 7. You Never Know 8. Going Down Jeff Beck - Guitar Tony Hymas - Keyboards Mo Foster - Bass Simon Phillips - Drums Bass Simon Phillips - Drums
