Iron Maiden / Japan Final 2016 / 2CD

Iron Maiden / Japan Final 2016 / 2CD / Zodiac

Translated Text:
Live at Ryogoku Kokugikan, Tokyo, Japan 21st April 2016

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Japan was the first time in eight years performances, is the last day “2016 April 21, Ryogoku Kokugikan” performances of the best live album appeared! This visit to Japan performances, rare I mean it was only the two countries Kokugikan two days include, but gathered metal recording house is in both countries in Japan. Currently, the number of masterpieces recording has been reported. Both I have just tour de force, such as show the obstinacy of the recording artist, but this work is What Zuba missing and wonderful gem recorded among them.
The was the gem in mono, it was still this person. “West strongest taper” Mr.! As its nickname, but is a master craftsman that barrage masterpieces, masterpiece in the heart of Osaka, Nagoya, this time only the expedition to Tokyo. It faces the Kokugikan recording will be the first in itself. Its sound, stunning thing can not be said only the very masterpiece. The first day, second day together a number of recording we have arrived, but the number of questions asked through both days 1. Sounds of fascinating musical sound, rich bass, based snapping a sense of exhilarating from among them, three of the guitar is clear of stand out and clearly, and divide seize site vocal ……… its all have been recorded Katsuaki I.
Recording position is the front row of Masuseki, but direct feeling generous enough to not think so so. Anything, the first day of the case was not good enough but was recorded in the arena seats, likely the second day while-recording from Masuseki, was offset a sense of distance in the equipment and settings. But I think that it comes with a person if the pins go to the site, Masuseki the front row, it is considerably higher than the arena, the stage and confronting. In other words, the space of the center of the hall, the front of the stage, below the arena, the space surrounded by the periphery of the Masuseki and second floor. Nothing without, only music and great cheer are concentrated. Masuseki of the front row, position in direct contact with the space. Only, this work a sense of distance of the tone had to overcome in a setting that becomes a problem, is exactly what is fully capture all of the venue ideally.
In fact, the sound of this work, while reach straight the musical tone without the shield, also three-dimensional enthusiasm flowing from the lower arena and surrounding the central space. Moreover, the large cheers amazing. Around the “strongest taper Mr.” I had no audience rioting by chance (is of great also need to not make noise in this live but) so, close a speaking voice and singing voice is none. However intently, to focus on the large chorus central space of the thick huge spectacle, picking up only it. As a result, Dickinson is “Scream for me, Tokyo!” And shouting, “War!” Ferocious but large cheers rush of that, the musical tone without mix to them, clear of plentiful remains of the sense of separation. People who have experience in the field, but I think that the pressure even felt ferocious large cheer, while sucking the powerful with plenty, musical tone is also adamant the leading role speck. I like the clean balance, such as the mix has been the official board. Anyway, I would like you to listen to “Fear Of The Dark” and “Iron Maiden” of this work. Riff winding occur large chorus in Nari Nari rust is, like a male voice choir. Moreover, they are not disturbed Isshi, are aligned with the Bishitsu, you heavy the first time, such as an enlarged view of the male chorus of ACCEPT thousands scale. And, such a while followed by a large chorus also, never leading role the first time in the musical tone that do not comply. Say this impressive “Blood Brothers” …… what, what that Will recordings.

IRON MAIDEN8_nenburinorainichikoen, has become a storm of already rave reviews in various places. In particular, there is a problem with the PA, unlike the first day of a large bungle also there was of “The Trooper”, all the second day was perfect. Its space, such as the miracle of before the performance from the air feeling to the announcement after the show, had fully grasped is only one of the recording. Among the wonderful recording a group of large quantities arrive,’s the name recorded in the name of recording that won was missing Zuba “number 1”.
This work is no longer a treasure of Japan only. Currently, “THE BOOK OF SOULS WORLD TOUR” is suffering a shortage of world-best record, the world of mania is exploring desperately superiority or inferiority in the “middling” level of the recording. Low of such dimension story also, and the other end. Mania is the long-awaited decision board of the world, it is what the identity of this work. By the world, this is was the underlying strength of MAIDEN JAPAN!

8年ぶりとなった来日公演、その最終日「2016年4月21日・両国国技館」公演の極上ライヴ・アルバムが登場です! 今回の来日公演は、珍しい両国国技館2日間だけだったわけですが、それだけに日本中のメタル録音家が両国に集結。現在、傑作録音の数々が報告されています。いずれも録音家の意地を見せるような力作ばかりなのですが、本作は、その中でもズバ抜けて素晴らしい逸品録音なのです。
その逸品をモノにしたのは、やはりこの方でした。“西日本最強テーパー”氏! その異名の通り、大阪・名古屋を中心に名作・傑作を連発している名匠ですが、今回ばかりは東京まで遠征。自身でも初となる国技館録音に臨んだのです。そのサウンドは、まさに名作としか言えない見事なもの。初日・2日目ともにいくつもの録音が届いておりますが、両日を通して問答無用のナンバー1。艶やかな楽音、豊かな低音の鳴り、その中から浮き立つベースのバキバキ感、3本のギターがクッキリと際立つクリアさ、そして現場を掌握しきるヴォーカル………その総てが克明に記録されているのです。
録音ポジションは枡席の最前列ですが、とてもそうとは思えないほどにダイレクト感たっぷり。なんでも、初日はアリーナ席で録音したものの今ひとつだったそうで、2日目は枡席から録りつつ、機材とセッティングで距離感を相殺されたそう。現場に行かれた方ならピンと来ると思いますが、枡席最前列は、アリーナ席よりもかなり高さがあり、ステージと正対する。つまり、会場中央の空間は、前方のステージ、下方のアリーナ、周囲の枡席や2階席で取り囲まれた空間。何もなく、ただ音楽と大歓声だけが集中している。枡席の最前列とは、その空間に直接触れるポジション。唯一、問題になる楽音の距離感をセッティングで克服してしまった本作は、まさに会場の総てを理想的に捉えきっているのです。
実際、本作のサウンドは、遮蔽物なしの楽音が真っ直ぐに届きつつ、下方アリーナや周囲から中央空間に流れ込む熱狂も立体的。しかも、その大歓声が凄い。“最強テーパー氏”の周囲には偶然にも騒ぐ観客がいなかった(このライヴで騒がずにいられるのも凄いですが)そうで、間近な話し声や歌声は皆無。ただひたすら、分厚く巨大スペクタクルの大合唱が中央空間に集中し、それだけを拾っている。その結果、ディッキンソンが「Scream for me, Tokyo!」と叫ぶと、「うぉー!」という猛烈な大歓声が沸き上がるものの、楽音はそれらに混じることなく、クリアさたっぷりなままの分離感。現場で体験された方は、猛烈な大声援に圧力さえ感じたことと思いますが、その迫力をたっぷりと吸い込みながらも、楽音が微塵も主役を譲らない。まるで綺麗にミックスされたオフィシャル盤のようなバランスなのです。とにかく、本作の「Fear Of The Dark」や「Iron Maiden」を聴いていただきたい。リフなりサビなりで巻き起こる大合唱は、まるで男声合唱団のよう。しかも、それらが一糸乱れず、ビシッと揃っており、ACCEPTの男声コーラスを数千人規模に拡大したような重厚ぶりなのです。そして、そんな大合唱を従えつつも、決して従わない楽音の主役ぶり。この感動的な「Blood Brothers」……なんという、なんという録音なのでしょうか。

IRON MAIDEN8年ぶりの来日公演、すでに各所で大絶賛の嵐となっています。特にPAに問題があり、「The Trooper」の大ちょんぼもあった初日とは違い、2日目は総てが完璧でした。その奇跡のような空間を開演前の空気感から終演後のアナウンスまで、たった1本の録音が捉えきってしまった。大量に届く素晴らしき録音群の中でも、ズバ抜けた“ナンバー1”を勝ち取った名録音中の名録音なのです。
本作はもう、日本だけの宝ではありません。現在、“THE BOOK OF SOULS WORLD TOUR”は世界的に極上録音の不足にあえいでおり、世界のマニアが“まあまあ”レベルの録音で必死に優劣を探っている。そんな次元の低い話も、もう終わり。世界中のマニアが待ちに待った決定盤、それこそが本作の正体。世界よ、これがMAIDEN JAPANの底力だっ!

Disc 1 (63:25)
1. Introduction 2. Doctor Doctor 3. Opening Movie: Take The Ed Force One
4. If Eternity Should Fail 5. Speed of Light 6. Children of the Damned 7. Tears of a Clown
8. The Red and the Black 9. The Trooper 10. Powerslave

Disc 2 (66:58)
1. Death or Glory 2. The Book of Souls 3. Hallowed Be Thy Name 4. Fear of the Dark
5. Iron Maiden 6. The Number of the Beast 7. MC 8. Blood Brothers 9. Wasted Years
10. Always Look on the Bright Side of Life (Outro)
Zodiac 178

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