Steven Tyler/Tokyo,Japan 2017

The second superb live album from the much-talked-about solo Japan tour is here! The first day of the album “OSAKA 2017” was released the other day and has been well-received, but this is the second day. This is the audience album for the “April 11, 2017: Nippon Budokan” performance. This solo visit to Japan is only twice, in Osaka and Nippon Budokan. This work is the second and final performance. This work, which contains such a Nippon Budokan performance, is incredibly powerful. “OSAKA 2017” was the masterpiece of the master “Western Japan’s Strongest Taper”, but the quality of this work is also a superb board that does not take a step back… no, not even half a step. It is the work of a master who is famous in the Kanto region, but this person’s specialty is the “Nippon Budokan”. It was a long time ago that it was said that “the sound at the Budokan is bad”, but even so, the sound at the Nippon Budokan is not particularly good. The difference between good and bad times, and between good and bad positions, is so great that only a recordist who is familiar with acoustics can mass-produce famous recordings stably. The recordist who made this work is so skilled that it can be said to be an expert who has produced masterpieces at the Nippon Budokan. In fact, the sound of this work is of an abnormal level of high quality. It was recorded around the fifth row of the arena, and the closeness gives it a fierce direct feeling. Not only Steven Tyler’s singing voice, but also the highly acclaimed mixed chorus reaches each person separately. Of course, the band performance is extremely clear, and the rhythm section, guitar, banjo, and mandolin are all clear. Even the “gaps” of each sound are vivid, and there is no cloudiness or turbidity at all. It is an ultra-clear sound as if that octagonal space had become an aquarium of ultra-pure water. On top of that, even the deep bass is rich. The vibes that shake the floor roar beautifully, and even the beautifully arranged sound waves come to mind. If it were just the direct feeling and clarity, I would call it “like a sound board,” but that’s not a compliment. It’s rare to see such a beautiful and lustrous Nippon Budokan recording. A solo performance depicted with such sound is exquisite. Above all, Steven’s singing, who is 69 years old and in top form, is wonderful, but that alone is no different from AEROSMITH. This work also has a solo backing band, THE LOVING MARY BAND, which is amazing. It is a country band led by Marty Frederiksen, who is also the producer/songwriter of AEROSMITH, and since they are regular performers, it is an ensemble that is so complete that it is impossible for a makeshift band that is often used as a backing for a solo singer. Moreover, the members are also a group of composers, and their level of musical qualities is different from that of other players. They have a sense for even the smallest phrases, and even their perspective on the entire band is visible. It especially shines in the familiar AEROSMITH repertoire, which makes up about half of the album. Frederiksen has been the brain behind NINE LIVES and later, so he has a deep understanding of the songs, and yet the arrangements he adds to the accents are also thoughtful. The other members are all unique, but the husband and wife pair Elisha Hoffman and Rebecca Lynn Howard are especially brilliant. Elisha is a multi-instrumentalist who plays banjo, mandolin, and steel guitar, and he adds flavor to AEROSMITH’s classic songs, and Rebecca’s singing voice is just amazing. Together with fellow female singer-songwriter Suzie McNeil, they perform beautiful choruses (or rather, almost side vocals) in each song, but in Janis Joplin’s “Mercedes Benz,” they roar with a powerful, beautiful voice that could even overshadow the main character, Steven. Of course, Steven, who has a look of “Wow, that’s amazing!” on his face, also hits back with Janis’ “Piece Of My Heart,” which is as expected. Rebecca is also a skilled performer, swaying the bass with a buzzing, firm groove, and creating a powerful beat with female drummer Sarah Tomek. The highlight is the title track of her solo album, “We’re All Somebody From Somewhere,” which transforms from country rock to funk, and even shows off her wild skills by playing SLY & THE FAMILY STONE’s “Thank You.” Every song is fresh, including the LED ZEPPELIN “Whole Lotta Love,” which became a big hit, and the piano-accompanied “Home Tonight,” which was not heard at the Osaka performance. It’s a little different from AEROSMITH, but the Nippon Budokan is full of Steven-likeness. This is a masterpiece that depicts the whole story with the ultimate sound. Live at Budokan, Tokyo, Japan 11th April 2017 TRULY PERFECT/ULTIMATE SOUND(from Original Masters) Disc 1 (50:21) 01. Intro 02. Sweet Emotion 03. Cryin’ 04. I’m Down 05. Oh! Darling 06. Come Together 07. Love Lives 08. Jaded 09. Love Is Your Name 10. I Make My Own Sunshine 11. Mercedes Benz 12. Piece of My Heart 13. Livin’ on the Edge Disc 2 (53:26) 01. We’re All Somebody From Somewhere 02. What It Takes 03. My Own Worst Enemy 04. Home Tonight 05. Dream On 06. Train Kept A-Rollin’ 07. Janie’s Got a Gun 08. Only Heaven 09. Walk This Way 10. Whole Lotta Love 11. Band Introductions