Doobie Brothers/Tokyo,Japan 2017

THE DOOBIE BROTHERS have returned to the Nippon Budokan for the first time in 21 years. Here is a live album that captures the memorable “April 26, 2017” with superb sound. We also delivered the Osaka performance’s superb version “OSAKA 2017” the other day. Let’s organize the tour schedule again here. ・April 24: Hondanomori Hall ・April 26: Nippon Budokan [This work] ・April 27: Nippon Tokushu Togyo Civic Hall ・April 28: Grand Cube Osaka “OSAKA 2017” All four performances. The other day’s “OSAKA 2017” was the final performance, but this work is the second day that arrived a little late. The Nippon Budokan is the highlight of this time. In the first place, it was the first time in 16 years that they came to Japan alone, but it’s been even longer since they visited the Nippon Budokan. Although they had performed at the Nippon Budokan many times since their first visit to Japan in 1976, the last time was as a guest at the 7th Cosmo Earth Conscious Act Earth Day Concert in 1996. As a solo performance, it was a monumental concert for the first time in 24 years since 1993. However, the biggest point of this work is the super-excellent quality that even blows away such memorial value. “OSAKA 2017” was also of intense transcendental quality, but this work is also of an extraordinary dimension. Since the master was handed over directly to me by the recording artist himself, it is definitely an audience recording, but I still can’t believe it. The clarity of the musical tones, the direct feeling with zero distance, the super detailed details, the core of the musical tones that are too thick, the well-balanced “ringing” despite almost no venue reverberation…all of that is “like a sound board”. It is also of transcendental high quality at the level of broadcast sound sources and official boards. I think it was recorded straight towards the PA, but even so, I can’t understand it. In fact, if you record directly from the PA, the direct feeling and details will be excellent, but there is a risk that the stereo feeling will be weak. It is not uncommon for the left and right balance to be poor, or even for it to sound mono. However, this work has an excellent stereo feeling, and even the drumming that pans left and right is captured in a strong three-dimensional way. It is a sound that is just like “official”, but unlike the official version, it is not processed with mixes or effects. Although it is at the official level, it is a live album that exudes a natural high tone and nobility. Such “sound of dignity” overflows without stagnation throughout the entire work, but it is not completely audience-like. It is the enthusiasm that fills the Nippon Budokan. When you write it like this, you may imagine a recording full of screams and applause that pierces your ears, but there is no need to worry about that. This work is super clear performance and singing voices that penetrate thickly. However, the enthusiasm fueled by that groove is also real. In particular, this set features plenty of American rock from the early 1970s, and the performance is light and energetic. Of course, the audience is also into the super-famous songs of the past, clapping their hands. The clapping creates an octagonal space, and the rhythm section and the “groove of the venue” are created. This “spatial groove” is not possible on any official album. It is an exquisite luxury that is only allowed for audience recordings, especially for the best recordings. The full show at Nippon Budokan, the first in 24 years, is depicted with that sound. There is no way this can be bad. As I wrote earlier, the set list of this work is full of golden super-famous songs. During the McDonald’s era, there was only “Takin’ It to the Streets”, and after the restart, there were only “World Gone Crazy” and “The Doctor”. Of the 17 songs played, 14 are American rock from the early 1970s. Whether official or unofficial, studio or concert, the three main elements of a great music album are “good sound,” “good songs,” and “good performance.” It is extremely rare for all of these to come together at such a high level. And to think that two more albums like this have been released following “OSAKA 2017″… Up until this point, I’ve used the phrase “first time in x years” a lot, but this is such a masterpiece of an ultra-excellent music album that there’s no need for that. The still-top-form THE DOOBIE BROTHERS, the audience at Nippon Budokan, and the recording goddess… all of these elements come together and are beaming with smiles on their faces on this album. Don’t miss out on this miraculous live album! Live at Budokan, Tokyo, Japan 26th April 2017 TRULY PERFECT/ULTIMATE SOUND(from Original Masters) Disc 1 (46:38) 1. Intro. 2. Jesus Is Just Alright 3. Rockin’ Down the Highway 4. Take Me in Your Arms (Rock Me a Little While) 5. Another Park, Another Sunday 6. Clear as the Driven Snow 7. Spirit 8. World Gone Crazy 9. Eyes of Silver 10. Dark Eyed Cajun Woman Disc 2 (44:36) 1. Sweet Maxine 2. Keyboard Solo / Jam 3. Takin’ It to the Streets 4. The Doctor 5. Black Water 6. Long Train Runnin’ 7. China Grove 8. Without You 9. Listen to the Music