AC/DC/Tokyo,Japan 2.5.1981 Upgrade & more

The ultra-excellent stereo soundboard album born from the legendary first visit to Japan has been brushed up to its ultimate form. What is engraved on that super masterpiece is the “February 5, 1981: Nippon Seinenkan” performance. Yes, it is the highest ever version of the classic sound board that was broadcast on a certain broadcasting association’s “FM Live Special”. Although they visited Japan twice in quick succession during the Golden Age in 1981 and 1982, they did not visit Japan for nearly 20 years after that, and the third time did not come until the beginning of the 21st century. Some of you may remember the 80’s as a set, so let’s summarize the two visits to Japan here. ●1981: “BACK IN BLACK TOUR”・February 1: Osaka Expo Hall・February 2: Aichi Prefectural Labor Hall・February 4: Japan Youth Center・February 5: Japan Youth Center ←★Here ★ ●1982: “FOR THOSE ABOUT TO ROCK TOUR”・June 4: Osaka Festival Hall・June 6: Osaka Expo Hall・June 8: Kyoto Kaikan・June 9: Nagoya City Public Hall・6 March 10th: Nippon Budokan [Sound updated to the highest peak of the legendary broadcast] This is the footprint left in Japan at its peak. The Nihon Seinenkan performance of this work was the final day of the legendary first visit to Japan. This show has been broadcast on radio and TV, and has become a symbol of the band’s first visit to Japan, which has produced numerous air check boots. At the time, a certain broadcasting company was enthusiastic about broadcasting Western music to Japan, and frequently broadcast various bands/artists. The broadcast quality was at an extremely high level, and there were many globally valuable bands in the HR/HM genre in particular. AC/DC has also been loved as a cultural heritage by enthusiasts around the world for many years, along with IRON MAIDEN and BLACK SABBATH’s first visit to Japan. This work updates the highest peak of such world heritage class FM broadcast version. The original source of this work was the old peak “NIHON SEINENKAN 1981”. This was a 2012 direct CD version of the master taper “Miracle Man”, and the sound was shocking. Although it is an air check, the freshness of the original cassette with no dubbing is overwhelming, and even the smallest details are super clear. The recordings, made using high-end equipment at the time and paying close attention to everything from reception conditions to power, are so beautiful that it’s hard to believe they were the same broadcast, and are of an unparalleled quality, even among classics that have spawned countless versions. In the case of a certain broadcasting association, unlike overseas radio, there was no hope that the original broadcast would be leaked, and it was a completely official sound that would probably be impossible to get any better than this for eternity. Its quality received great praise, and “NIHON SEINENKAN 1981” was sold out and out of print in an instant. Seven years have passed since then, but there is still no one to surpass this master. This work is a brush-up of such a master with the latest and meticulous mastering. Of course, we do not do any reckless sound pressure gain or unscrupulous excessive equalization, and carefully analyze each range while making the most of the original sound like the ultimate in FM broadcasting. Therefore, we haven’t processed it to the point where it becomes “something completely different,” but the bass is particularly easy to understand. The FM broadcast itself had a slightly strong bass thrust, but adjustments were made to ensure the overall balance of the entire ensemble. As a result, the range is wider and the ensemble feels more three-dimensional. Especially the riff. In their heyday, AC/DC had everyone playing riffs with an amazing synchronization rate, but because of that, the rhythm guitar and bass could almost sound like they were stuck together. However, in this work, the sense of separation becomes more vivid, and you can now vividly feel that it is not just “one sound” but “many layers of sounds synchronized”. [A superlative soundboard from the BACK IN BLACK era that is valuable worldwide] What is depicted with such “extreme sound” is “extreme groove” and “extreme AC/DC”. After all, the potential of the band that created the masterpiece of the century “BACK IN BLACK” is amazing. Phil Rudd hits a unique groove, and as mentioned earlier, the synchronization rate of Malcolm Young and Cliff Williams is at an abnormal level. Moreover, unlike his later years, his beats are full of youthful energy, and the edges are frighteningly sharp. And Brian Johnson’s vocals. When Phil Rudd returned in 1995, it was described as “withered and bitter,” but in this work, the powerful 33-year-old’s throat roars, showing off the killing power that can be described as “metal” even though it is rock’n’roll all the way. It will help you. The main part alone is great, but this work also includes an even more delicious bonus track, just like the original version. Soundboard “Back In Black” and “T.N.T.” from “December 21, 1981 Landover Performance”, which was included in the UK version 12-inch single “Let’s Get It Up”. This is also digitized from the actual single owned by “Miracle Man”, and has been polished with meticulous mastering just like the main story. In fact, it is a take that has already been made official in “BACKTRACKS”, but this work has a beautiful gloss that is unique to the analog version, and due to the mastering, it does not feel strange even if you listen to it consecutively with the main part. In particular, “T.N.T.” is a delicious volume increase that cannot be heard in the Japanese performance. Although it is a special first visit to Japan for us Japanese, the horizon of this work is much broader. At that time, the world was buzzing with the record hit of “BACK IN BLACK”, but for some reason the recording situation was not good. Not only was there no official live album left, but there was also no full soundboard to replace it. Under such circumstances, Japan’s FM sound board was the most likely to become an “official replacement”. This work is a piece that updates the highest peak in the history of such a world heritage site. The ultimate live album that Japan is proud of to the world. Live at Nihon Seinenkan, Tokyo, Japan 5th February 1981 STEREO SBD(UPGRADE)　(68:00) 1. DJ Intro. 2. Hells Bells 3. Shot Down In Flames 4. Sin City 5. Back In Black 6. Bad Boy Boogie 7. The Jack 8. Highway To Hell 9. High Voltage 10. Whole Lotta Rosie 11. Rocker 12. DJ Outro. FM BROADCAST RECORDING Bonus Tracks Live at Capital Center, Landover, MD. USA 21st December 1981 Taken from B side of ” Let’s Get It Up” UK 12″ Single(K 11706T) 13. Back In Black 14. T.N.T. Brian Johnson – Vocal Angus Young – Guitar Malcolm Young – Guitar & Vocal Cliff Williams – Bass & Vocal Phil Rudd – Drums