Metallica/Kanagawa,Japan 1989 & more

METALLICA in 1989 was pursuing tight, complex, and aggressive heavy metal before they discovered groove. The legendary live album that tells of their return to Japan has been decided to be reprinted. There are two performances included in this work. This is a superb audience recording set recorded at the “May 11, 1989: Kawasaki City Industrial Cultural Center” performance and the “May 13, 1989: National Yoyogi Stadium” performance. The biggest point of this work is the tremendous sound quality and the content of the live performance, but first of all, the position of the show. Let’s look back at the schedule at that time.・May 11th: Kawasaki City Industrial and Cultural Center ←★Disc 1-2★ ・May 13th: National Yoyogi Stadium ←★DISC 3-4★ ・May 14th: National Yoyogi Stadium ・May 16th: Osaka Welfare Pension Hall, May 17th: Osaka Welfare Pension Hall, May 18th: Nagoya City Public Hall.A total of 6 performances. The style of touring around Tokyo, Nagoya, and Osaka is the same as when they first came to Japan in 1986, but in Tokyo they have expanded to the larger venue, Yoyogi Stadium. This is a schedule where you can finally see the Japanese spirit coming into full swing. In such a situation, the two performances of this work were a start dash on the first and second day. [The pinnacle of the super-famous recordings that represented the 1989 tour to Japan] This work, which records those two performances, is the super-famous recording that represented the second Japan tour. Both are digitized directly from original cassettes by the same recording artist, and that person is the legendary taper who made many famous recordings in the 1980s. It is a masterpiece that can be called a masterpiece. In fact, this work is a super superb sound that can only be achieved by a legendary master. Anyway, it’s crisp and dry. It’s not the type to be mistaken for a sound board, but the atmosphere is crystal clear, and the powerful core flies straight into your ears like a laser beam. The furiously erupting riffs are sharp to the point of crisp edges, and the outline of each stroke is clear without even the flurry of bass drum hits blending together. James’ vocals are even better than that. It pierces through the middle of the ensemble, which has become a wall of sound (the point is that it’s not a mass of sound), and it approaches you as if right in front of your eyes. At this time, his voice is still a spitting slash voice that is on a different level from his later singing, but even though it is aggressive, you can clearly hear every word of the lyrics. Moreover, it is surprising that such a sound does not move in the slightest in two performances. The venue sizes are quite different between Kawasaki City Industrial and Cultural Center (Disc 1-2) and National Yoyogi Stadium (Disc 3-4), but the difference is that the latter is more spectacular in terms of how the sound spreads and the excitement of the audience. The direct feel of the core and the detail are 50/50. They say they don’t choose Kobo brushes, but it seems like recording experts also don’t choose the venue. And, this work is also the highest peak of such famous recordings. In fact, the Yoyogi recording (Discs 3-4) is a famous recording that has been a staple since the time of his arrival in Japan and has produced countless previous releases. However, since this work is digitized from the original cassette, there is no dubbing deterioration at all. When it first appeared, it was highly praised by a specialized magazine, saying, “Although the source is exactly the same, the sound quality has improved dramatically, and the master quality is truly the difference between heaven and earth.” [The world of DANAGED JUSTICE where the glittering metallic luster shines] This kind of sound depicts the cult METALLICA of this period, which is different from the early club lives and the Yokozuna Sumo of the 90s and beyond. Speaking of “DAMEAGED JUSTICE TOUR”, the Seattle performance of the official “LIVE SHIT: BINGE & PURGE” is famous, so let’s compare and organize them. Cliff era numbers (8 songs)・KILL ‘EM ALL: Seek & Destroy/Whiplash・RIDE THE LIGHTNING: For Whom The Bell Tolls/Creeping Death/Fade to Black・MASTER OF PUPPETS: Welcome Home (Sanitarium)/Master Of Puppets/ Battery●…AND JUSTICE FOR ALL (6 songs) ・Blackened/Harvestor Of Sorrow/Eye Of The Beholder (★)/To Live Is To Die/One/…And Justice For All cover (6 songs + α)・Jam #1 (Smoke On The Water/How Many More Times) (★) / Jam #2 (Twist & Shout (first day only)/Symptom Of The Universe (second day only)/Run To The Hills/Helpless) (★ ) ・Others: Little Wing/Last Caress/Am I Evil?/Breadfan *Note: Songs marked with “★” cannot be heard at the official Seattle performance. …and it looks like this. The performance in Japan was about three months before the Seattle performance, and even though the selection itself was very similar, the flow was quite different. The cover jam played playfully at the beginning of the 1st/2nd encore is also fully recorded. And even more pleasing than that would be “Eye Of The Beholder.” This is a rare song that is not only not seen in official pro shots, but was only played until July 1989. METALLICA is a band that still occasionally reprints past songs, but “Eye Of The Beholder” has never been played since then, and is truly a “1989 masterpiece.” In addition to the show itself, this work also has a great documentary feel. The intro of “One”, which was popular as the first PV, elicited roars of cheers, and the familiar burp of “Seek & Destroy” also caused bursts of laughter. Also, the difference in size between the two performances is interesting. The venue for the Kawasaki performance was a rare venue with a capacity of 2,000 people, and there is an anecdote that at first they considered not having a statue of the goddess, but Lars stubbornly refused and had it installed by force. The contrast between the feeling of a closed room and the vast spectacle of Yoyogi is also very realistic. Then, as the 90s entered, METALLICA awakened to groove and dynamism and changed. 1989 was just before that. With their worldwide success, they have dramatically improved their level of proficiency, and have delivered a metal paradise with a glittering metallic luster to Japan. A legendary live album where you can experience these two performances with the best sound. Sangyo Bunka Kaikan, Kawasaki, Japan 11th May 1989 TRULY PERFECT SOUND(from Original Masters) Yoyogi Olympic Pool, Tokyo, Japan 13th May 1989 TRULY PERFECT SOUND(from Original Masters) Live at Sangyo Bunka Kaikan, Kawasaki, Japan 11th May 1989 Disc 1 (58:05) 1. Ecstasy Of Gold 2. Blackened 3. For Whom The Bell Tolls 4. Welcome Home (Sanitarium) 5. Harvestor Of Sorrow 6. Eye Of The Beholder 7. Bass Solo 8. To Live Is To Die 9 Master Of Puppets 10. One Disc 2(66:54) 1. Seek & Destroy 2. …And Justice For All 3. Smoke On The Water / How Many More Times 4. Creeping Death 5. Fade to Black 6. Guitar Solo 7. Little Wing 8. Battery 9. Twist & Shout / Run To The Hills / Helpless 10. Last Caress 11. Am I Evil? 12. Whiplash 13. Breadfan Live at Yoyogi Olympic Pool, Tokyo, Japan 13th May 1989 Disc 3(58:08) 1. Ecstasy Of Gold 2. Blackened 3. For Whom The Bell Tolls 4. Welcome Home (Sanitarium) 5. Harvestor Of Sorrow 6. Eye Of The Beholder 7. Bass Solo 8. To Live Is To Die 9. Master Of Puppets 10. One Disc 4(66:17) 1. Seek & Destroy 2. …And Justice for All 3. Smoke On The Water / How Many More Times 4. Creeping Death 5. Fade to Black 6 . Guitar Solo 7. Little Wing 8. Battery 9. Symptom Of The Universe / Run To The Hills / Helpless 10. Last Caress 11. Am I Evil? 12. Whiplash 13. Breadfan James Hetfield – Guitar, Vocal Lars Ulrich – Drums Kirk Hammett – Guitar Jason Newsted – Bass