Billy Joel / Budokan 1981 Final Night / 2CD

Billy Joel / Budokan 1981 Final Night / 2CD / Zion
Live at Budokan, Tokyo, Japan 17th April 1981

Play sample :

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The great masterpiece “GLASS HOUSES IN JAPAN” which remains in the audience album history of Billy Joel. The perfect content that coupled the best audiences of Tokyo and Osaka from the 1981 show in Japan, is a great seller as a perfect item to remind you of the nostalgic Japan-to-Japan fever, and it has already been sold out for a long time. For ZION label, it was also a significant title that was decided to perform a successive Billy visit to Japan in the wake of a big hit of this album. The masterpiece which captured the stage of the time when it became extremely popular after reaching its climax and which was extremely popular in Japan, has become difficult to obtain for a long time, and the voice for re-release never ceases did.
This re-release is not a mere relapse, but the sound source and release form have been completely reviewed. First of all ZION at the time preferred to use a multi-disc format to couple multiple shows, but it was easier or more accessible to hear each show separately, and above all it was a show on a different land From that, each was re-released alone (it would have been released as a set if it was the same venue).

The first thing I will introduce is the April 17 Budokan performance on “GLASS HOUSES IN JAPAN”, which was recorded on two discs in the first half. Despite the popularity of the past two concerts in Japan, which had been realized until then, only two performances were performed in either year, and in 1979, the Budokan alone would have twice the demand. And the supply balance was not balanced (hence the ticket competition was intense), but the number of performances expanded to seven times for the first time for 81 years. This sound source is the last day of the Budokan performance that has been performed for three consecutive days.
Billy had already acquired the position as a major major western artist in Japan by the big hits of the albums “THE STRANGER” and “52 ND STREET”, but “THE GLASS HOUSES” was released in the year before and the year before in 81 With a further hit, he is promoted to a level where he is no longer a music fan and knows his name or song. It was an era when the regulars of music played through cassettes from car stereos were Billy. That is why the venue’s heatup on this day is really amazing. The attraction of this sound source is that it captures the sense of reality that is unique to this popular climax too realistically.
However, there is Japan of Showa 56. Even with the help of Mr. Wicky, the hurdles of English conversation were high. The only yellow cheers flying are “Billy!” That’s why it is the best to be caught up to the haunting scene. First of all, when Billy was distracted by someone in the audience saying “Did you see that?” During the setting before “Don’t Ask Me Why”, one girl “does not understand (what I’m saying!)” The whole venue will be covered in a roar of laughter. The timing when she gave a statement was also exquisite. After “Until The Night”, the hall also laughs at the men’s shout “Ash!” What kind of peaceful Showa feeling?

It is a masterpiece that everyone below Billy is playing the best performance in the soaring feeling so mild that it is not strange to say that it is “Honobono” any longer. I wonder if there are two discs! Only the blockbuster songs of that time were packed, and there was no excuse for the excitement. Only Billy, who was still young at the time, had their MC “Honesty”, etc., and they would not immediately play the intro immediately without MC. A Japanese audience who cheers every time a fancy masterpiece starts, it’s too healthy. The band members are also well-recognized by the fans at this time, and in particular, a place where a high cheering will be generated when the “Riko” saxophone’s Richie Kanata is introduced is a valuable scene that will bring back the popularity of those days. It will be.
However, the song played by the strongest members, the song of full power that I can not think that Billy’s three consecutive days. The best audience recording recorded so much that the sight only by “the climax period” which does not say presence or absence is too clear.

Furthermore, on this day Billy performed a little bit of Wings “Let ’em In” as “grabber” who was good at the stage, but this is also Japan of the Beetle powerhouse, and the intro is just the beginning of the intro Is reacting quickly. More than that, the Beatles “I’ll Cry Instead”, which was played frequently in the encore at this time in tribute to John Lennon, who died half a year ago, is also very exciting.
And on this re-release, a new remaster was given. However, the sound quality is only that of the original, so it does not go to the extreme difference, but it evolves easier to hear in the finish that brought out the warmy than the previous time. It is the finest recording described as “A record when Western music was the best” at the time of release in 2012, but it is still listening to both the performance and the sense of reality with high quality including clearness of the special rating. Fun rare sound source. A special item that you want to enjoy as a record of not only the fans of Billy but also Showa’s western music concerts. Even if the same day’s table-to-table sound board comes out, it should be impossible to capture this realistic presence. Such immortal masterpiece sound source comes up again!

ビリー・ジョエルのオーディエンス・アルバム史上に残る大傑作「GLASS HOUSES IN JAPAN」。1981年の来日公演から東京と大阪それぞれの極上オーディエンスをカップリングした完璧な内容は懐かしの来日フィーバーを思い起こさせるに申し分ないアイテムとして大ベストセラーとなり、既に売り切れとなって久しいアイテムです。ZIONレーベルにとっても本アルバムの大ヒットをきっかけとして、歴代のビリー来日公演をすることになった意義深いタイトルでもあったという。自身の人気が最高潮に達し、日本で絶大な人気を誇っていた時期のステージを最高の音質で捉えていた名作が長らく入手困難となってしまい、再リリースを望む声が絶えることはありませんでした。

まず最初に紹介するのは「GLASS HOUSES IN JAPAN」において前半二枚のディスクに収録された4月17日の武道館公演。それまでに実現していた過去二回の来日公演は人気が爆発したにもかかわらず、どちらの年でも二回の公演しか行われず、1979年に至っては武道館だけで二回という、まるで需要と供給のバランスが取れていない(それゆえにチケット争奪戦は熾烈を極めた)スケジュールだったのですが、81年に関しては初めて公演数が7回にまで拡大。本音源は三日連続で行われた武道館公演の最終日に当たるもの。
アルバム「THE STRANGER」と「52ND STREET」の大ヒットによって、既に日本においても大メジャー洋楽アーティストという地位を獲得していたビリーですが、81年の来日と前年にリリースされていた「THE GLASS HOUSES」のさらなるヒットによって、もはや音楽ファンでなくとも彼の名前や曲を知っているというレベルにまで昇格。カーステレオからカセットを通して流される音楽の常連がビリーという時代でした。それだけに、この日の会場のヒートアップぶりは本当に凄い。これぞ人気の絶頂ならではという臨場感をあまりにもリアルに捉えているのが本音源の魅力。
とはいってもそこは昭和56年の日本。たとえウィッキーさんの力を借りても英会話のハードルが高かった時代です。飛び交う黄色い歓声は「ビリー!」ばかり。だからこそ、抱腹絶倒な場面まで捉えられているのが最高。まずは「Don’t Ask Me Why」演奏前のセッティング中にビリーが「did you see that?」とオーディエンスの誰かに気を取られたところ、一人の少女が「(何言ってるのか)わからない!」と叫んで会場全体が爆笑の渦に包まれます。彼女が明言を放ったタイミングも絶妙でした。さらに「Until The Night」の後では「渋い!」という男性の叫びにも会場が大爆笑。何とのどかな昭和感でしょうか。


さらにこの日はビリーがステージ上で得意としていた「つかみ」としてウイングスの「Let ‘em In」を少しだけ演奏しましたが、これもビートル大国の日本らしく、イントロが始まっただけでその場のオーディエンスがすぐに反応している。それ以上に、半年前に非業の死を遂げたジョン・レノンを追悼してこの時期アンコールで頻繁に演奏されていたビートルズの「I’ll Cry Instead」でも大いに盛り上がっています。


Disc 1 (42:47)
1. Intro.
2. You May Be Right
3. My Life
4. Honesty
5. Movin’ Out (Anthony’s Song)
6. Piano Man *終演後の女性の「わかんない!」が面白い(ビリーも真似をする)
7. Don’t Ask Me Why
8. Vienna
9. The Stranger

Disc 2 (61:44)
1. Stiletto
2. Until The Night
3. Let ‘Em In
4. Root Beer Rag
5. She’s Always A Woman
6. Just The Way You Are
7. Sleeping With A Television On
8. All For Leyna
9. Sometimes A Fantasy
10. Big Shot
11. It’s Still Rock And Roll To Me
12. I’ll Cry Instead
13. Band Introduction
14. Only The Good Die Young
15. Souvenir

Billy Joel – Vocal & Piano Russell Jayors – Guitar David Brown – Guitar
Richie Cannata – Horn & Saxophone Doug Stegmeyer – Bass Liberty Devitto – Drums