Suzi Quatro/Tokyo,Japan 10.10.1975

Susie Quatro was extremely popular in Japan in the 70s. A masterpiece original recording of her live in Japan vacuum packed is now available. Two titles of Susie’s original recordings will be released simultaneously for the first time worldwide. This work is the best audience recording of the first “October 10, 1975: Nakano Sun Plaza Performance”. Anyway, its popularity in Japan at that time was at an abnormal level. The first visit to Japan in 1974 was quite normal with 5 performances in Tokyo and Kyoto only, but the second time in 1975, there was a nuclear explosion. They have crisscrossed the archipelago with an incredible number of performances, from Hokkaido in the north to Fukuoka in the south. To remember the situation, let’s first look back at the schedule at that time. ・September 30th + October 1st: Hokkaido Welfare Pension Hall (2 performances) ・October 3rd: Niigata Prefectural Gymnasium ・October 4th: Shizuoka Sunpu Hall ・October 7th: Nakano Sunplaza ・October 8th : Yokohama Cultural Gymnasium ・October 10: Nakano Sunplaza ←★This work★ ・October 12: Kyoto Kaikan ・October 13: Hiroshima Postal Savings Hall ・October 14: Fukuoka Civic Center ・October 15 ：Osaka Festival Hall・October 16th: Takamatsu Civic Hall・October 17th: Nagoya City Public Hall・October 19th: Shibuya Public Hall　A total of 14 performances. Some documents say “15 performances” or “16 performances,” so we can’t guarantee that, but you can get a general sense of the scale. Speaking of 1975, there was QUEEN’s first visit to Japan, but that legend also had only 8 performances. If you think about the fact that it took four years for QUEEN to reach the level of 15 performances, you can realize that they are extremely popular in their second year. And the Nakano Sunplaza performance of this work was also a concert that was in the middle of such enthusiasm. This work, which records such a show, is the finest audience sound that blows away the preciousness. What’s surprising is how close they are! The person who recorded it probably didn’t intend for others to hear it (that’s probably why it took 45 years to release it).As the clapping is picked up louder, I don’t forget that it was an audience recording, but on the other hand, Other than that, I can’t find anything that seems like a customer record. The performance and singing voice flows into the ears with a thick core and delicate details, and there is no cloudiness or turbidity at all. The clapping becomes quieter around the 4th song, “I Bit Off More Than I Could Chew,” and after that, it becomes as close and vivid as if it was being recorded on stage, and even when the quartet is at full strength, it’s startling. It penetrates with a sense of stability. You can enjoy the direct sound to your heart’s content that makes you wonder what position it was recorded in. With such a powerful sound, it is the best girls’ rock of our time, with plenty of hit songs and delicious cover songs. Speaking of Suzy’s Japanese performance, the traditional official version “LIVE AND KICKIN’” comes to mind, but this work is quite different as it is only two years ago. Let’s compare and organize them here. Queen of Sadistic Rock (3 songs)・All Shook Up (★)／Glycerine Queen／Shakin’ All Over (★) Euphoric Idol (4 songs)・The Wild One／Cat Size／Devil Gate Drive／Keep A Knockin’ Rock Dedicated to Mama (3 songs)・I Bit Off More Than I Could Chew (★) / Your Mama Won’t Like Me (★) / You Can Make Me Want You (But You Can’t Make Me Love You) ( ★) Others (5 songs + α) ・Can The Can/I May Be Too Young (★)/Medley (48 Crash/G-Men/Too Big) (★) ・Cover: Jailhouse Rock (★)/Sweet Little Rock’ N’ Roller (★) *Note: Songs marked with “★” cannot be heard on the official version of “LIVE AND KICKIN'”. …and it looks like this. In addition to “Euphoric Idol,” there are plenty of numbers such as “Sadistic Rock Queen” and “Rock for Mom,” as well as standards by Elvis and Chuck Berry. Although the only member on the keyboard is Alice McKinsey, the other three members are the same as in “LIVE AND KICKIN”’, and it is refreshing to see how lively it pulls. Such a full show alone is the best, but this work also has a strong sense of the era of “1975”. The meticulous clapping of hands gives a sense of the Western music boom, but there’s more to the opening than that. A male staff member who calls himself the stage manager appears and asks the audience to be careful. It’s a bit interesting, so let’s write it down. “Welcome, everyone. I ask everyone to please refrain from getting up on the chairs and dancing during the performance. I have asked you many times before, but I can’t see the people behind you. If that happens, we will never be able to hold a rock concert in this hall again.If you see someone like this in the area, please let us know. Please be careful and take care of each other to make this concert a success.Please note that it is a rock concert, so please stand up and clap your hands or dance. Please do not climb on the chairs.Then, the performance will start soon.”I’ll leave it a bit omitted, but I kept shouting, “Don’t climb on the chairs!” and said, “Knock loudly.” It’s typical of Japan to give instructions one by one, “This is OK/This is not OK,” and it’s very 70s-esque. To be more specific, there were probably many spectators at this scene who were unfamiliar with rock music. It also shows how popular Susie was at the time, which involved a lot of people like that. It’s just a phenomenon. Musically speaking, it is a masterpiece of a live album where you can enjoy plenty of hit songs with wonderful direct sound, but the value of this work is even more than that. How obsessed was Japan with Siouxsie and female-voiced rock at the time? What’s more, the scene wasn’t just about idols, it was rocking passionately. This work is also a cultural heritage that teaches us this in a tactile way. Live at Nakano Sunplaza, Tokyo, Japan 10th October 1975 TRULY PERFECT SOUND(from Original Masters) Disc 1 (61:03) 1. Announcements Must Listen 2. All Shook Up 3. 48 Crash / G-Men / Too Big 4. The Wild One 5. I Bit Off More Than I Could Chew 6. Your Mama Won’t Like Me 7. You Can Make Me Want You (But You Can’t Make Me Love You) 8. I May Be Too Young 9. Cat Size 10. Glycerine Queen 11. Band Introduction 12. Shakin’ All Over / Jam Disc 2 (34:07) 1. Can The Can 2. Devil Gate Drive 3. Keep A Knockin’ 4. Jailhouse Rock 5. Sweet Little Rock ‘N ‘ Roller Suzi Quatro – vocals, bass Len Tuckey – guitar, backing vocals Alastair McKenzie – keyboards, backing vocals Dave Neal – drums, backing vocals