Greta Van Fleet/Tokyo,Japan 2019

GRETA was praised by Robert Plant, who said, “They are LED ZEPPLIN I,” and Alex Lifeson, who was compared to ZEP in his youth, said, “They have a great future ahead of them.” VAN FLEET. The latest and best live album containing their first visit to Japan is now available. The amount of attention they receive is extraordinary. Their 1st album “ANTHEM OF THE PEACEFUL ARMY” reached number 3 in the US, and they have been nominated for 4 categories at the upcoming 61st Grammy Awards. Not only Plant and Lifeson, but also Elton John, Joe Satriani, and Nikki Sixx have announced themselves as “fans,” and when they are criticized for plagiarism, George Lynch says, “No, I’m the one who plagiarizes.” There are many. I’ll be waiting for you at the courthouse.” He is a huge new talent that has gone beyond being a popular topic and has the entire rock world obsessed with him. GRETA VAN FLEET came to Japan for the first time. This work is a live album that vacuum-packs those memorable moments. This is the best audience recording of the “January 24, 2019 Zepp DiverCity Tokyo” performance. First, let’s check the show’s position from the dates that may be handed down as legends. ・January 22nd: Zepp Osaka Bayside – January 23rd (move date) – January 24th: Zepp DiverCity Tokyo [this work] – January 25th: Shinkiba STUDIO COAST A total of 3 performances. This week, the super masterpiece “OSAKA 2019” from the first day of the Osaka performance will be released at the same time, but this work will be the second performance two days later. It was a concert on the first day of Tokyo. This work, which records such a show, is truly the best. “OSAKA 2019” was also transcendent, so it cannot be easily declared No. 1, but this is also a super famous recording that is outside the common sense of guest records. That’s no wonder, if “OSAKA 2019” is a masterpiece representing Western Japan, the recording artist of this work is also a person who has produced masterpieces in the Kanto area. These two are good friends, and for example, in Ace Frehley and Joe Perry’s “JAPAN TOUR 2018,” the Osaka and Tokyo parts were coupled. In other words, both of them are so transcendent that it wouldn’t be strange to put them side by side and make them into one work. In fact, the sound of this work is also exquisite. “OSAKA 2019” was a recording that even gave off a different dimension, but this work has a sound that has a natural feel and has the highest quality sound. Of course, the very thick core with no sense of distance is like a sound board, and everything from the high notes that extend to the deep bass that makes the floor of the venue tremble are delicate and beautiful. On top of that, this work has a natural sound. There is a stage in front of me, and GRETA VAN FLEET is there…that scene comes to mind. In contrast to “OSAKA 2019,” which mastered the performance sound, this work can be said to be a masterpiece recording that has mastered the faithful reproduction of the scene. The Tokyo performance depicted with such a sound is also overwhelming. The set and scorching ensemble are similar to the Osaka performance, but the band’s emphasis on jamming and improvisation gives it a very different look. And what comes to mind is the shadow of LED ZEPPELIN. Most powerful of all is Josh Kiszka’s singing voice, which is reminiscent of Robert Plant. It’s also a young plant. If you think about it, Plant was 23 years old when they first came to Japan, and Josh is now 22 years old. The tension of his voice and the extension of his high notes can’t help but remind me of the legendary ZEP. Of course, it’s not just a perfect copy, but it’s clear that the delicate and sexy turns, the powerful singing, and the improvisations that intertwine with the guitar are all based on Plant. However, since I was born with a plant-like voice, there is no other way to make the most of it than with that style. Our predecessors such as Lenny Wolfe, Jack Russell, and Dave King had to work hard not to imitate us, but this is a direct respect that comes from a generation that doesn’t know that. That’s what makes it so dazzling. On the other hand, the performers are not so deeply ZEP. Of course, Jake Kiska, who mainly plays pentatonics and runs, has some Page-like phrases here and there, and Sam Kiszka, who plays the Hammond organ and operates the bass pedal with his feet, has Johnsy’s powerful and supple Danny. You can see the shadow of Bonzo in Wagner. However, the improvisations they exchange are reminiscent of ZEP, as well as glimpses of the Stones and Faces. Instead of having to choose between “become ZEP or deny it,” they grew up swallowing rock from the 1960s and 70s, and output what they’re good at without hesitation. Of course, ZEP is a huge presence for them, but it is on the same level as mountains and rivers. It’s natural because it’s a new generation that has existed since long before ZEP was born. That’s why the heavyweights of the rock world are welcoming them with open arms. GRETA VAN FLEET is entrusted with the “future” of the entire rock world. I can’t predict, but it’s been a long time since I’ve seen a band whose future I’m so curious about. And they take the heavy expectations lightly and simply create scorching and mellow rock music. This is a live album that vacuum-preserves the whole story with the best sound. Is GRETA VAN FLEET real? Live at Zepp Divercity Tokyo, Tokyo, Japan 24th January 2019 ULTIMATE SOUND(from Original Masters) (79:56) 1. My Whole World Ended (The Moment You Left Me) 2. Intro 3. Highway Tune 4. Edge of Darkness 5 . Flower Power 6. The Music Is You 7. You’re the One 8. Evil 9. Black Flag Exposition 10. Watching Over 11. When the Curtain Falls 12. The Cold Wind 13. Black Smoke Rising 14. Safari Song Josh Kiszka – lead vocals Jake Kiszka – guitars, backing vocals Sam Kiszka – bass guitar, keyboards, backing vocals Danny Wagner – drums, backing vocals