Peter Wolf Peter Wolf/Tokyo,Japan 1997 Complete

17 years after the legendary first visit of THE J. GEILS BAND, Peter Wolf returned to Japan as a solo artist in 1997. The original recording that allows you to experience the scene of that shock in the ultimate way is being released for the first time in the world! This work is recorded at the “January 22, 1997: Shibuya Club Quattro” performance. This is a super-class audience recording that vacuum-packed the whole story. The biggest point of this work is… everything. The superb sound, the collection of 37 masterpieces, and the fiercely hot performance are so amazing from every perspective that it seems dizzying. One of these points is the intense and rare feeling of the scene in Japan. First of all, let’s look back on the historic schedule. ・January 18: Shinsaibashi Club Quattro ・January 19: Nagoya Club Quattro ・January 21: Shibuya Club Quattro ・January 22: Shibuya Club Quattro ←★This work★ All four performances. This work was the final day of the concert, which toured Club Quattro in Tokyo, Nagoya and Osaka. This work, recorded at such a site, is truly superb. The cheers are so real that you won’t mistake it for a sound board, but the essential performance sound is likely to be mistaken. The core is extremely thick and there is no sense of distance, and there is plenty of closed room feeling unique to clubs. Along with that, the details are beautifully reproduced even in the fine parts, and the sense of separation of each instrument is tremendous. And despite being so powerful, it is extremely beautiful, so I am impressed. We introduce many original DATs from a certain Nagoya taper, and this work is the latest one. Since it is a direct copy from the original source, there are no dubbing marks or deterioration over time, and the resolution is clear and fresh even to the subtleties of the mechanism. No, really, I can’t find any evidence of the audience by listening carefully with headphones. If I had to say, there is a solid sense of air in the cheers, and there may be a little sense of space in the sound of the snare. On top of that, the natural balance and breathing are wonderful enough to kick out a poor soundboard. It’s one of the best in the Nagoya collection… no, it’s a tremendous recording that can be boldly declared to be the “masterpiece”. The sound quality alone is an absolute must-listen, but the show depicted by that sound is even more amazing, so I was surprised twice. First of all, there are a huge number of masterpieces. Let’s analyze the set here and experience the Boshume and concentration. J. Geils Band (20 songs) Debut! ：Homework／Serves You Right To Suffer／Pack Fair And Square／Cruisin’ For A Love／Hard Drivin’ Man／First I Look At The Purse・Bloodshot：Give It To Me／(Ain’t Nothin’ But A) House Party／Start All Over Again・Other：Looking For A Love／Detroit Breakdown／Must Of Got Lost／Love-Itis／Where Did Our Love Go／Sanctuary／Teresa／Night Time／Love Stinks /Centerfold/Freeze-Frame Solo (17 songs)/Long Line: Sky High/Rosie/Wastin’ Time/40 To 1/Romeo Is Dead/Goodbye (Is All I’ll Send Her)/Seventh Heaven/Starvin’ To Death/Riverside Drive/Break This Chain/2 Loves/Long Line/Others: Lights Out/Come As You Are/Blue Avenue/99 Worlds/Go Wild …And so it goes like this. “THE J. GEILS BAND” and the latest work at the time, “LONG LINE” are the two axes, the former is about half of the album, 6 songs, the latter is a big gesture of showing all 12 songs in their entirety (it’s not a reproduction of the album because it’s scattered). What’s surprising is that even though they’re so thorough, they don’t stop there. They continue to play out a repertoire of 37 songs, including representative songs from each era of their career, which was 27 years old at the time. This one work alone is like a box set, but the performance that spells out the set is also hyper and big. Well, it’s a club-sized venue, so the venue is small, but the singing and performance are super-scale, so it’s amazing. Steven Tyler described it as “having a voice coming from his fingertips,” but Peter’s vocalization that comes out of this work is also stadium-class. Of course, the tension and extension of the voice are great, but even more than that, the sense of rhythm. Every little shout, scat, and word of the lyrics is ferociously groovy. The “beat” is so strong that you wonder if vocals were a rhythm instrument. The audience at the venue was probably in the early triple digits, and this work also has that private feeling firmly engraved in it. Despite that, it’s amazing how he sings in front of tens of thousands of people (how many encores does this guy need to respond to? lol). The backing that supports Pete is also wonderful. The band is made up of five people, including Pete, and all of them, including bandmaster Johnny A, are members of “LONG LINE”. Moreover, the remaining three are also regular members of RTZ led by Brad Delp, and their combination creates an exquisite groove that fits perfectly at the breathing level. “Good sound, good songs, and good performance” are often cited as essential conditions for a good musical work, but there are few albums that have all three elements at such a high level as this one. It is released in this form because it is an audience recording handed over by the recorder himself, but if it had been officially released, it would have been loved all over the world as Peter Wolf’s masterpiece. A super entertainment masterpiece that lasts for 2 hours and 54 minutes. A super-class audience recording of the “January 22, 1997: Shibuya Club Quattro” performance. This is an original recording only for this work, with a very thick core and no sense of distance, and the details are beautiful even in the fine parts, and the separation of each instrument is also tremendous. With the closed-room sound unique to the club, you can experience the superb full show that continues to play a total of 37 songs, with “THE J. GEILS BAND (about half of it)” and “LONG LINE (the whole song)” as the two axes. Live at Shibuya Club Quattro, Tokyo, Japan 22nd January 1997 ULTIMATE SOUND(from Original Masters) Disc 1 (55:20) 1. Intro 2. 99 Worlds 3. Go Wild 4. Sanctuary 5. Sky High 6. Rosie 7. Wastin’ Time 8. 40 to 1 9. Romeo Is Dead 10. Homework 11. Serves You Right To 12. Come as You Are 13. Night Time 14. Teresa 15. Goodbye (Is All I’ll Send Her) Disc 2 (70:04) 1. Band introductions 2. Pack Fair and Square 3. Cruisin’ for a Love 4. Seventh Heaven 5. Hard Drivin’ Man 6. Starvin’ to Death 7. Lights Out 8. Where Did Our Love Go 9. Centerfold 10. Detroit Breakdown 1 1. Riverside Drive 12. Give It to Me 13. Love Stinks 14. Break This Chain Disc 3 (48:07) 1. MC 2. 2 Loves 3. Long Line 4. Must of Got Lost 5. Freeze-Frame 6. Lookin’ for a Love 7. (Ain’t Nothin’ But a) House Party 8. First I Look At The Purse 9. Start All Over Againitis 11 Blue Avenue Peter Wolf – vocals Johnny A. – guitar Tim Archibald – bass David Stefanelli – drums Brian Maes – keyboard