ABWH Anderson Brudord Wakeman Howe/Osaka,Japan 1990

Not only John and Howe, but also Rick and Bill…ABWH came to Japan in 1990, embodying the dream of progressive rockers. The super and best original sound source is now available. What is infused into this work is “March 5, 1990: Osaka Festival Hall Performance”. It is a transcendental audience recording that vacuum-packs the whole story. ABWH’s visit was a symphonic rock miracle accompanied by the originator Bill Bruford. As this was a big event for Japanese progressive rock fans, our store has archived many masterpieces, including the iconic work “CLOSE TO THE MASTER (Virtuoso 228-230)”. First, let’s look back at the schedule at the time, including organizing the collection.・March 1st: NHK Hall ・March 2nd: NHK Hall ← *”REBIRTH ON THE EDGE” ・March 4th: NHK Hall ← *”TOKYO 1990 3RD NIGHT” ・March 5th: Osaka Festival Hall ← ★This work★・March 7th: Yokohama Cultural Gymnasium←*“CLOSE TO THE MASTER”・March 8th: Nakano Sunplaza [A masterpiece by the legendary taper that can be called a symbol of Japanese recording history] All 6 performances above. . Although there were so many performances, it was a unique tour that was mostly occupied in the Kanto area, but the only exception was the Osaka performance of this work. This work recorded at such a show is a miraculous super-best audience recording that can’t be done with just a little bit. This work was created by the legendary taper, which is well-known at our store. A person who has left many historical recordings mainly in the 1980s with Eric Clapton, Jeff Beck, Mick Jagger, THE ROLLING STONES, PINK FLOYD, etc. When I say that, some people may be right. Is not it. This work is one of the masterpieces that was directly digitized from the master’s original cassette, and is a masterpiece that stands out even in the legendary collection. Actually, I’m at a loss as to how to put this sound into words… Anyway, super clear, super crisp, super close contact. Every single checkpoint was a perfect score, and to put it simply, it’s the type that can only be heard on a soundboard. However, it would be disrespectful to the sound source to make it so easy. In fact, the beauty and elegance that the extremely faint sound of the hall exudes is amazing. As for how faint it is, you can understand it by putting on headphones, closing your eyes, and concentrating on a meditative level. Even if it’s subtle, it’s definitely there, and it adds luster to the rugged bass line, a sense of reality to the drums and kit structure, a majestic symphonic feel to the guitars and synths, and the chorus harmony. It has a feeling of rain pouring down on you. Moreover, her beauty remains unwavering in any ensemble. ABWH’s show is divided into solo section / band section, but even though each person takes a solo with a different instrument, everything is beautiful. The simple vocals and acoustic guitars are so delicate that it will take your breath away, the vibe of the synths, the percussion with its sharp peaks, all kinds of sounds are beautiful. Of course, even in the band section where they are integrated, every corner of the complex symphony is clearly explained. You can feel the reality of each instrument vibrating, and even the three-dimensional effect that makes the floor of the venue tremble. [A miraculously beautiful world where even the audience’s breath forms an ensemble] What’s even more surprising is that it’s not just the sounds on stage. Real applause erupts from the opening part of the performance, and every single voice and drop of applause is beautiful. Of course, the atmosphere was dominated by a sense of tension, “don’t miss a single note,” but even so, the applause erupted between songs, and the emotion overflowing from the famous song’s phrases could no longer be suppressed. Even the breath of the audience creates “beauty.” You can feel that in the entire album and all songs, but if I had to pick one example, it would be “Long Distance Runaround.” Joy springs from Rick’s intro phrase, and there is a huge clap that involves the entire venue, but this spectacle and beauty are not overwhelming. The sound of a distant hit is a single small bead, and the clap of a nearby hand is a single large bead, and even if a thousand of them come together, each bead does not collapse, giving a super realistic sense of perspective. It is beautiful because it spreads like an ocean and follows the extremely thick performance sound without disrupting its order. It’s like… or rather, the handclaps definitely become part of the percussion and form the show. Furthermore, the resonance caused by the dramatic developments, the smiles and chants that spread during “Zou-san” and “Donguri Korokoro”… Even the balance between the performance and the breath evokes emotion. It’s gotten long before I get into the content of the show, but if you’re paying attention to this article, you’ll know about ABWH’s show. You can fully experience that wonderful evening of YES music with the miraculous sound that will make even the goddess of recording smile. This is a world of beauty because it is an audience recording that easily surpasses even the sound board. Superb audience recording of “March 5, 1990: Osaka Festival Hall Performance”. The sound that was made directly into CD from the original cassette of a legendary recording artist is truly a miracle. Anyway, each and every checkpoint is super clear, super clear, and super close-up. In other words, it is the type that can only be heard as a sound board, but it has an elegance and beauty that goes beyond that. The luster of the rugged bass line, the realistic feel of the drums and kit structure, the majestic symphonic feel of the guitar and synth, the pouring feeling of the chorus harmonies, and the percussion that forms part of the ensemble. The applause of the audience…This is a miraculous live album that even the balance of performance and breath evokes emotion. Live at Festival Hall, Osaka, Japan 5th March 1990 ULTIMATE SOUND(from Original Masters) Disc 1 (63:12) 1. The Young Person’s Guide to the Orchestra 2. Time and a Word / Owner of a Lonely Heart / Teakbois 3. Clap 4. Mood for a Day 5. Keyboard Solo 6. Long Distance Runaround The cheers and applause are moving, the balance is exquisite 7. Drum Solo 8. Birthright 9. And You and I 10. Themes 11. Levin / Bruford Duet Disc 2 ( 61:47) 1. Close to the Edge 2. Zoh-San / Donguri Koro Koro 3. The Meeting 4. Brother of Mine 5. Heart of the Sunrise 6. Order of the Universe Disc 3 (20:57) 1. Roundabout 2. Starship Trooper Jon Anderson – Vocals Bill Bruford – Drums Steve Howe – Guitars Rick Wakeman – Keyboards Julian Colbeck – Keyboards Tony Levin – Bass Milton Mcdonald – Guitars