Police/Tokyo,Japan 1981

“What is this!?” “FM sound board before the broadcast…Isn’t it?” “Maybe it’s an official leak??”…Everyone who heard it was stunned and was shocked by the world’s first public release. A new discovery by the master. What is sealed in such a shocking work is the “February 2, 1981: Nippon Budokan” performance. This is a super class audience recording that records the second performance in Japan that was realized as part of the “ZENYATTA MONDATTA Tour”. Speaking of the 1981 Japan live, the TV broadcast and the complete sound board are famous, but what is their relationship with this work? Let’s take a look at the schedule at that time.・January 25th: Nagoya City Public Hall ・January 26th + 27th: Osaka Festival Hall (2 performances) ・January 29th: Kyoto Kaikan ← *KYOTO 1981 ・January 30th: Kurashiki Civic Center ・January 31st : Fukuoka City Kyuden Memorial Gymnasium ・February 2nd: Nippon Budokan ←★This work★ & TV/FM broadcast ・February 4th: Hokkaido Welfare Pension Hall ・February 6th: Utsunomiya City Cultural Hall ・February 7th: Sendai Electric Power Hall A total of 10 performances. The live broadcast on TV/radio was at Nippon Budokan, and THE POLICE’s Budokan performance was the only one on this day. In other words, this work is also the same as that symbolic live. I feel like I’m about to hear a voice saying, “What, then my ears are calloused,” but I’ve never heard this sound before. It is natural because it is a recording that will be released for the first time with this work, but that is not the case. It completely surpasses traditional FM soundboards. That too, far more lightly. Famous broadcasts have also been called “official grade”, but after this work you can no longer listen to it. It has a tight but flat sound, a distorted feeling with a limiter that is filled with peaks, and even a dusty sound… Until now, I had wondered if the output sound of the on-site PA was like this, but this work has taught me the glossy and natural original on-site sound. To be more specific, even “beyond FM sound board” cannot fully express the true value of this work. To be honest, even if I listen to it alternately with the official traditional version “LIVE!”, I haven’t lost a single step. The drums don’t have the piercing feeling of the official album, but it sounds elegant and well-balanced. As expected, it is not possible to disparage the historical traditional version, but it is no wonder that this work feels more “official”. I’ve already written this completely in soundboard mode, but I’ll repeat it again just in case. This work is an “unmistakable audience recording” given directly by the recording artist. However, the sound that flows out breaks the common sense of guest records… No, it is a monster recording that breaks the limits. What is depicted with such abnormal and strange sounds is a panoramic view of Nippon Budokan, which has become a symbol of “THE POLICE’s Japan performance”. I’ve been referring to the traditional work “LIVE!” for a while now, so let’s also compare the sets. OUTLANDOS D’AMOUR (4 songs)・Truth Hits Everybody/Roxanne/Can’t Stand Losin’ You/So Lonely REGGATTA DE BLANC (5 songs)・Walking On the Moon/Deathwish (★)/Bring On the Night/The Bed’s Too Big Without You／Message in a Bottle ZENYATTA MONDATTA (7 songs) ・Voices Inside My Head (★)／Don’t Stand So Close To Me／Man in a Suitcase (★)／De Do Do Do, De Da Da Da /Shadows in the Rain (★) / When the World is Running Down, You Make the Best of What’s Still Around (★) / Driven To Tears (★) Others (1 song): Fall Out *Note: “★” marks are A song that cannot be heard on the official version of “LIVE!”. …and it looks like this. Since the tour is different from “LIVE!”, it is natural that the set is different, and the initial three albums based on the large-scale behavior of “ZENYATTA MONDATTA” are delicious. Of course, Sting and Stewart Copeland were still in their 20s, so the ensemble was youthful and crisp, and the growth and tension of their voices were fresh. Anyway, the sound is transcendent. I can’t stop shaking at the quality that beats the standard FM sound board and rivals the official traditional edition. Perhaps it never came out because FM broadcasting is so famous, but I wonder if such a recording is still sleeping in Japan. Not only this work, but also WHITESNAKE’s “OSAKA 1981 1ST NIGHT” and Hall & Oates’ “TOKYO 1980 FINAL NIGHT”, which were released at the same time, were also created by the same person, but it is no longer the case that they are not “Japan’s Mike Millard”. I can’t think of words. What is so shocking is that it is the master of appearance, and is a cultural heritage from Japan that is proud of itself to the world. A transcendent audience recording of the “February 2, 1981: Nippon Budokan” performance, which will be released for the first time in the world. The show has been famous for its FM broadcasts since that time, but this work is a monster recording that completely surpasses that FM sound board. FM broadcasts, which I once thought were official, now sound flat, clogged with a limiter, and dusty… In other words, this work is the opposite. The glossy and natural original on-site sound is overwhelming, and it is even more elegant than the official traditional version “LIVE!”. It is a world-renowned cultural heritage from Japan, where you can fully experience the climax of the “ZENYATTA MONDATTA” era performance in Japan with an outrageous sound that is even better than the official one. Live at Budokan, Tokyo, Japan 2nd February 1981 ULTIMATE SOUND(from Original Masters) Disc 1 (33:18) 1. Voices Inside My Head 2. Don’t Stand So Close To Me 3. Walking On The Moon 4. Deathwish 5 Fall Out 6. Man In A Suitcase 7. Bring On The Night 8. De Do Do Do, De Da Da Da 9. Truth Hits Everybody Disc 2 (51:56) 1. Shadows In The Rain 2. When The World Is Running Down, You Make the Best Of What’s Still Around 3. The Bed’s Too Big Without You 4. Driven To Tears 5. Message In A Bottle 6. Roxanne 7. Can’t Stand Losing You 8. So Lonely Sting – Lead Vocals, Bass Andy Summers – Guitar, Backing Vocals Stewart Copeland – Drums, Percussion, Backing Vocals