Description
A shocking live album that tells the story of the legendary first visit to Japan that remains in the history of Japanese Western music is now available. A new excavation master from the now-talked-about master collection will be preserved forever. What is engraved in this work is the “February 4, 1981: Nippon Seinenkan” performance. This is the best audience recording. Speaking of Nippon Seinenkan’s first visit to Japan, it is famous for its FM sound board, which is also familiar to our store’s “DEFINITIVE NIHON SEINENKAN 1981”, but this work is a completely different performance. First of all, let’s look back at the schedule at that time and check the show’s position.・February 1st: Osaka Expo Hall ・February 2nd: Aichi Labor Hall ・February 4th: Japan Youth Center ←★This work★ ・February 5th “DEFINITIVE NIHON SEINENKAN 1981” and above, all of Tokyo, Nagoya and Osaka 4 performances. The highlight was the two consecutive Nippon Seinenkan performances, which were broadcast on TV and radio on the last day. What was recorded in this work was the concert the day before. This work recorded at such a show is a truly shocking superb audience. It is directly digitized from the original cassette brought in through a unique route, but the recording artist is not a free person. As some of you may have noticed, in the past few weeks we have been seeing a series of great Live in Japan performances by various bands/artists, but they are all by the same person. The quality is unparalleled, and the first releases, THE POLICE’s “BUDOKAN 1981” and WHITESNAKE’s “TOKYO 1980 1ST NIGHT”, were praised as “beyond official” despite the audience, with a thick core and beautiful sound. His ability to balance both roles was said to be comparable to that of Mike Millard. Later, when Jeff Beck’s “YOKOHAMA 1980” was discovered, it was discovered that he was actually a man who had worked on many legendary masterpieces for some time, and this master of Japanese recording history also visited AC/DC for the first time. I was recording it. And the sound of this work is also a product that will further increase its reputation. You won’t mistake it for a sound board because the lively applause is sucked in, but the core that is on and responsive is forever powerful, and the details with no sense of distance are super vivid. And the level of sound that you only notice when you listen carefully with headphones has a freshness that can only be expected from the Omoto cassette. It is not even inferior to “DEFINITIVE NIHON SEINENKAN 1981” which is said to be the best sound board of cultural heritage class…or rather, it can be said that the three-dimensional effect of the natural ensemble is superior. Moreover, it is not only the sound that exceeds the broadcast of the performance the next day. In fact, both famous TV/FM broadcasts were edited according to the broadcast frame, and were incomplete versions that were far from the full show on site. Although this work also has two tape change cuts, both are between songs or waiting for an encore. The band’s performance sound is completely recorded without missing even a second. Let’s organize the full set here. Bon Scott era (10 songs)・High Voltage: The Jack/High Voltage/T.N.T. (★)・Hell and Evil: Rocker・Rock Spirit: Bad Boy Boogie/Whole Lotta Rosie/Let There Be Rock (★)・Power Age: Sin City/Highway to Hell: Shot Down in Flames/Highway to Hell Back in Black (5 songs)/Hells Bells/Back in Black/What Do You Do for Money Honey (★)/You Shook Me All Night Long (★) *Note: Songs marked with “★” cannot be heard on the next day’s soundboard album “DEFINITIVE NIHON SEINENKAN 1981”. …and it looks like this. In addition to valuable songs such as “What Do You Do for Money Honey”, which was sealed for 20 years, and “Rocker”, which was never revived, each song reveals the potential of the band from the “BACK IN BLACK” era. It blows out. What creates an even richer sense of the times is actually before the performance begins. A Japanese staff member will appear and explain the precautions. I won’t transcribe it because it’s quite a long conversation, but while I’m getting excited about the AC/DC show, I’m careful not to stand on the chairs or put my belongings on the railings. If you think about it, it’s been three years since RAINBOW came to Japan, where a female college student was crushed to death. Hard rock is still radical music, and it’s hard to predict what will happen when AC/DC comes to Japan for the first time. Even the atmosphere of that era flows out from the speakers. AC/DC’s first FM sound board in Japan is considered a treasure worldwide, but this work allows you to experience a full show at once with a sound that rivals that world heritage. I never thought that 40 years after the show, such a superb recording would come out. This is why audience recording cannot be stopped. AC/DC’s masterpiece as a musical product, a hidden treasure in the history of Japanese Western music, and a new excavation that will leave collectors with goosebumps. A superb audience recording of the “February 4, 1981: Nippon Seinenkan” performance. The core is powerful and responsive when turned on, and the details with no sense of distance are super vivid. And the level of sound that you only notice when you listen carefully with headphones has a freshness that can only be expected from the Omoto cassette. It is not inferior to the FM sound board that is a symbol of AC / DC’s first visit to Japan…I would say that the three-dimensional effect of the natural ensemble is even better. Moreover, unlike the broadcast, it is completely recorded all at once. This is a cultural heritage album that allows you to experience the ultimate full show of the band’s potential from the “BACK IN BLACK” era. Live at Nippon Seinenkan, Tokyo, Japan 4th February 1981 PERFECT SOUND(from Original Masters) Disc 1 (50:11) 1. Opening Announcement 2. Intro. 3. Hells Bells 4. Shot Down in Flames 5. Sin City 6. Back in Black 7. Bad Boy Boogie 8. The Jack 9. What Do You Do for Money Honey 10. Highway to Hell Disc 2 (39:31) 1. High Voltage 2. Whole Lotta Rosie 3. Rocker 4. You Shook Me All Night Long 5. T.N.T. 6. Let There Be Rock Brian Johnson – Vocal Angus Young – Guitar Malcolm Young – Guitar & Vocal Cliff Williams – Bass & Vocal Phil Rudd – Drums
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