David Bowie / Tokyo 1973 Final Night 2nd Press / 1CD+1Bonus CDR

David Bowie / Tokyo 1973 Final Night-2nd press / 1CD+1Bonus CDR / Wardour

Shibuya Kokaido, Tokyo, Japan 20th April 1973 Plus Bonus CDR’ Osaka 1973′

Play sample :

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The legendary first visit to Japan that delivered “Bowie in the ZIGGY STARDUST era”. The super-famous board that is the symbol of this is reprinted and released. Introducing a permanent storage press CD.
The performance of “April 20, 1973: Shibuya Public Hall” is engraved in this work. It is the best audience recording. Bowie’s first visit to Japan is a major event in the history of Japanese Western music. Of course, we have archived various live albums in our shop as well. It’s also a good time to review the dates and organize your collection.

・ April 8 “TOKYO 1973 1ST NIGHT (welfare pension)”
* April 10 “TOKYO 1973 2ND NIGHT (welfare pension)”
・ April 11: Tokyo Kosei Nenkin Kaikan
・ April 12 “NAGOYA 1973”
* April 14 “HIROSHIMA 1973”
・ April 16: Kobe International House
・ April 17: Osaka Welfare Pension Hall ← * Bonus CDR
・ April 18: Shibuya Public Hall
* April 20: Shibuya Public Hall ← ★ This work ★
* Note: The “*” mark is the press CD title. Only masterpieces on each day.

Above, all 9 changing clothes. Speaking of press CDs that permanently preserved their first performance in Japan, the top recordings “TOKYO 1973 2ND NIGHT (Wardour-170)” and “HIROSHIMA 1973 (Wardour-174)” are very popular. On the other hand, this work is a live album that vacuum-packed the last day of the tour. Some of you may remember that the commentary on “TOKYO 1973 2ND NIGHT” introduced “the sound that competes for the top not only in Japan but also in” ZIGGY STARDUST TOUR 1982-1973 “as a whole”. Is exactly that “competitor”. It is one that is competing for the top with that masterpiece recording.
The sound is “TOKYO 1973 2ND NIGHT” and it’s a wonderful sound. The clarity and the beauty of the musical sound are almost the same, and when it comes to a direct feeling that can be said to be a “sound board”, this work is better off. Of course, this is also a very advanced level story, and it is a level that you have to decide which is the best according to your preference, but this work with a nuance close to line recording may be more widely preferred. I don’t know.
In fact, this recording is loved by overseas core enthusiasts, and is highly acclaimed as “the best recording of the Ziggy era” and “this” ziggy playyeeeeeeeed !! “is irresistible!”. However, even such a masterpiece recording was not a perfect master, and there was a slight deterioration. “Five Years” and “Let’s Spend The Night Together” had noise and skips, and the pitch was about 30% higher than the semitone. Of course, not only in the history of Bowie’s performance in Japan, but also in the entire “Jiggy era”, it is a special superb recording, so I want to keep it in the perfect form as much as possible. In this work, we carefully check such defects and repair as much as possible with the latest know-how. Finished in the best version possible in modern times.
The final performance of the first visit to Japan revived with that sound, the set changes as the tour progresses. Here, let’s organize it while comparing it with another masterpiece “TOKYO 1973 2ND NIGHT”.

● Jiggy Stardust (7 songs)
・ Hang On To Yourself / Ziggy Stardust / Moonage Daydream / Five Years / Starman (★) / Suffragette City / Rock’n’Roll Suicide
● Aladdin Sane (4 songs)
・ Watch That Man / The Jean Genie / Time (★) / Let’s Spend The Night Together
● Others (3 songs)
・ Changes / John I’m only Dancing / Round And Round (★)
* Note: “★” marks are songs that cannot be heard in “TOKYO 1973 2ND NIGHT”.

… And it looks like this. Introduced “Time” and “Starman” instead of “Width Of A Circle” and “Space Oddity”. This work traveled around the country in about two weeks, and since it was a live performance that returned to Tokyo, the singing voice that flowed out of this work was accustomed to the sensation of the audience peculiar to Japan, and there was no confusion. Is full of. The sense of fulfillment oozes from the performers, and the amount of improvisation is increased, making it a show that pulls with momentum. And what makes me happy is the cover of Chuck Berry, “Around And Around”, which will be on the encore last! A rock’n’roll masterpiece that was played only in limited live performances in Japan and could not be heard not only in “TOKYO 1973 2ND NIGHT” but also in “HIROSHIMA 1973”. What’s more, you can enjoy the big circle with a rare performance that has not been recorded since 1973 with a super clear sound.
The Tokyo performance that went around the country on the first Japan tour and returned with applause and success. Unlike the tension of the first Japan, which was swaying at the beginning of the tour, “Live in Japan”, which is full of relief and fulfillment, is packed with super high sound quality. “TOKYO 1973 2ND NIGHT”, which was touted as the best masterpiece, did not take half a step, and was a companion album of the two major masterpieces. Here is a dignified reprint.

★ The best audience recording of the “April 20, 1973: Shibuya Public Hall” performance. The clearness and beauty of the musical sound are comparable to “TOKYO 1973 2ND NIGHT (Wardour-170)”, which is said to be the best masterpiece, and the direct feeling that can be said to be a “sound board”. It was highly praised by overseas core enthusiasts as “the best recording of the Jiggy era”. This work further refines such a super-name recording. The noise and skipping that were slightly present in “Five Years” and “Let’s Spend The Night Together” have been repaired and sublimated into the best modern version. It is a cultural heritage album where you can experience the last day of your first visit to Japan, where you can enjoy “Time” and “Starman” that are not found in the famous board “TOKYO 1973 2ND NIGHT”.

★ It will be released with a sticker with numbering.

“ZIGGY STARDUST時代のボウイ”を届けてくれた伝説の初来日公演。その象徴ともなる超名盤が復刻リリース。永久保存プレスCDで登場です。
そんな本作に刻まれているのは「1973年４月20日：渋谷公会堂」公演。その極上オーディエンス録音です。ボウイの初来日と言えば、日本洋楽史の一大事件。もちろん、当店でもさまざまなライヴアルバムでアーカイヴして参りました。良い機会でもありますので、ここで日程を振り返り、コレクションを整理してみましょう。

・４月８日『TOKYO 1973 1ST NIGHT（厚生年金）』
＊４月10日『TOKYO 1973 2ND NIGHT（厚生年金）』
・４月11日：東京厚生年金会館
・４月12日『NAGOYA 1973』
＊４月14日『HIROSHIMA 1973』
・４月16日：神戸国際会館
・４月17日：大阪厚生年金会館　←※ボーナスCDR
・４月18日：渋谷公会堂
＊４月20日：渋谷公会堂　←★本作★
※注：「＊」印はプレスCDタイトル。各日とも代表作のみ。

以上、全９更衣。初来日公演を永久保存したプレスCDと言えば、頂点録音となる『TOKYO 1973 2ND NIGHT（Wardour-170）』や『HIROSHIMA 1973（Wardour-174）』が大好評。それに対し、本作はツアー最終日を真空パックしたライヴアルバムなのです。その『TOKYO 1973 2ND NIGHT』の解説で「日本だけでなく“ZIGGY STARDUST TOUR 1982-1973”全体でもトップを争うサウンド」とご紹介したのをご記憶の方もいらっしゃると思いますが、本作こそがまさにその「競争相手」。あの大傑作録音とトップを競い合っている１本なのです。
そのサウンドは『TOKYO 1973 2ND NIGHT』と甲乙付けがたい素晴らしいもの。クリアさ、楽音の美しさはほぼ互角で、「まるでサウンドボード」と言えるほどのダイレクト感に至っては本作の方に軍配が上がる。もちろん、それもこれも非常に高度な次元の話で、どちらがベストかは好みで判断していただくしかないレベルなわけですが、ライン録音に近いニュアンスの本作の方が、より広く好まれるかも知れません。
実際、この録音は海外のコアマニアの間でも愛されており、「ジギー時代の最高録音」「この“ziggy playyeeeeeeeed!!”がたまらないんだ！」と大絶賛されている。ただし、そんな大傑作録音であっても完全無欠マスターとはいかず、極わずかな劣化もありました。「Five Years」「Let’s Spend The Night Together」にノイズや音飛びがあり、ピッチも半音の30％ほど高かったのです。もちろん、ボウイの日本公演史上はもちろん、“ジギー時代”全体でも特別な極上録音ですから、可能な限り完璧な形で残したい。本作では、そうした欠点を細心にチェックし、最新のノウハウで可能な限りリペア。現代で可能なベスト・バージョンに仕上げました。
そのサウンドで蘇る初来日の最終公演は、ツアーの進行と共にセットも様変わり。ここではもう１本の最高傑作『TOKYO 1973 2ND NIGHT』と比較しながら整理してみましょう。

●ジギー・スターダスト（７曲）
・Hang On To Yourself／Ziggy Stardust／Moonage Daydream／Five Years／Starman（★）／Suffragette City／Rock ‘n’ Roll Suicide
●アラジン・セイン（４曲）
・Watch That Man／The Jean Genie／Time（★）／Let’s Spend The Night Together
●その他（３曲）
・Changes／John I’m only Dancing／Round And Round（★）
※注：「★」印は『TOKYO 1973 2ND NIGHT』では聴けない曲。

……と、このようになっています。「Width Of A Circle」「Space Oddity」が落ちた代わりに「Time」「Starman」を導入。本作は約２週間で各地を回り、東京に戻ってきたライヴだけに、本作から流れ出る歌声は日本独特の観客のノリにも慣れて戸惑いもなく、アジアの地で喝采を浴びてきた自信に満ちている。その充実感は演奏陣からも滲み、インプロヴィゼーションも増量して、勢いでグイグイと引っ張るショウになっているのです。そして、なんと言っても嬉しいのはアンコール・ラストに控えるチャック・ベリーのカバー「Around And Around」！　日本公演でも限られたライヴでしか演奏されず、『TOKYO 1973 2ND NIGHT』だけでなく『HIROSHIMA 1973』でも聴けなかったロックンロールの名曲。しかも、この1973年以降には記録がないレア・パフォーマンスでの大団円を超クリア・サウンドで味わえるのです。
初めてのジャパンツアーで全国を回り、喝采と成功を全身に浴びて戻ってきた東京公演。ツアー序盤にたゆたう初日本の緊張感とも違い、やり遂げた安堵と充実感に充ち満ちた“ライヴ・イン・ジャパン”が超・高音質でたっぷりと詰まった１枚です。最高傑作とも謳われた『TOKYO 1973 2ND NIGHT』に半歩も引かず、２大傑作の相棒アルバム。ここに堂々の復刻です。

★「1973年４月20日：渋谷公会堂」公演の極上オーディエンス録音。クリアさ、楽音の美しさは、最高傑作とも言われた『TOKYO 1973 2ND NIGHT（Wardour-170）』にも匹敵し、さらに「まるでサウンドボード」と言えるほどのダイレクト感。海外のコアマニアからも「ジギー時代の最高録音」と大絶賛。本作は、そんな超名録音をさらに磨き込み。「Five Years」「Let’s Spend The Night Together」にわずかにあったノイズや音飛びも補修し、現代可能なベスト・バージョンに昇華。大名盤『TOKYO 1973 2ND NIGHT』にはない「Time」「Starman」も楽しめる初来日の最終日を極上体験できる文化遺産アルバムです。

★ナンバリング入りステッカー付でのリリースとなります。

(64:42)
1. Ode To Joy Intro
2. Hang On To Yourself
3. Ziggy Stardust
4. Changes
5. Moonage Daydream
6. John I’m only Dancing
7. Watch That Man
8. The Jean Genie
9. Time
10. Five Years
11. Let’s Spend The Night Together
12. Starman
13. Suffragette City
14. Rock ‘n’ Roll Suicide
15. Round And Round

David Bowie – vocals, guitar
Mick Ronson – guitar, vocals
Trevor Bolder – bass
Mick “Woody” Woodmansey – drums
Mike Garson – Keyboards
John Hutchinson – guitar
Geoffrey A. MacCormack – backing vocals, percussion
Ken Fordham – saxophone
Brian Wilshaw – saxophone

Wardour-175
——————————
David Bowie / Osaka 1973 / 1CDR / NOn label
Live at Koseinenkin Kaikan, Osaka, Japan 17th April 1973

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The first visit to Japan realized in the “ZIGGY STARDUST era” is completely different from many Bowie in Japan. Not only the charismatic “Ziggy” shining in rock history, but also Bowie’s first visit to stages all over Japan for the first time As I step on the number of venues, I get used to the Japanese audience, but even so, I face completely different audiences in each region and deepen my confidence each time. That’s why I can’t miss even one performance on this first visit to Japan. We have prepared an audience recording of the performance of “April 17, 1973, Osaka Welfare Pension Hall”, which is also the latter half of the tour, on the main press CD that contains the great sound of the big group yen on the last day of such a memorable Japan tour.
As mentioned in the commentary on the main press CD, the schedule for the first visit to Japan is to start from Tokyo, travel around the country, and finally return to Tokyo again. Only the Shibuya Public Hall at the end of the tour returned to “Tokyo once succeeded”, but other than that, there were only challenging shows of “first place” and “first people”. The Osaka performance of this work was such a final challenge.
Such an Osaka performance has been traded between traders for a long time, but the master of this work is different. It uses the original cassette provided by the recorder, and once saw the light of day with the title “THE ZIGGY IN OSAKA”. As a matter of fact, it is recorded only in the latter half of the show from “The Jean Genie” to the final BGM “Dignified”, but the quality is excellent. Unlike the worst-sounding trader tape, the freshness of the original cassette, which directly sucks the air from the site, is fresh, and the vintage feel is plentiful, but the clearness and direct feel are also wonderful.
Moreover, this work is a re-digitized version from the original cassette, and is the highest peak board that has been further refined by meticulous mastering. While valuing the naturalness of the original sound, we focused on Bowie’s singing voice and finished it in a real sound that makes him feel his breath. In the case of such mastering, the focus tends to be on cheering and clapping, but that is also an important factor for “first visit to Japan in Osaka”. We have created a finish that allows you to experience the enthusiasm of the time.

As expected, it was not permanently preserved only in the recording of the latter half of the show, but in terms of quality it is a press-class masterpiece recording. Not only the enthusiasm of Osaka when he first witnessed Bowie, but also Bowie’s singing voice, which continues to receive great acclaim at the local performances so far and burns in the “last challenge” before returning to Tokyo, is a wonderful piece. It’s a short live album of only 32 minutes, but it’s a historical record that captures moments that never happened again. By all means, please fully enjoy Bowie’s singing voice, which has changed from tension to enjoyment, together with the emotional movement “TOKYO 1973 FINAL NIGHT” of the big circle.

“ZIGGY STARDUST時代”に実現した初来日は、幾多のボウイ・イン・ジャパンとはまるで違います。ロック史に輝くカリスマ“ジギー”の姿だけではなく、初めて日本各地のステージを巡るボウイの初々しさ。場数を踏むごとに日本の観客に慣れつつ、それでも各地ではまったく違う観客に対面していき、その都度自信を深めていく。だからこそ、この初来日は１公演も聴き逃せないのです。そんな記念すべきジャパンツアー最終日の大団円を極上サウンドで収めた本編プレスCDには、同じくツアー後半となる「1973年４月17日・大阪厚生年金会館」公演のオーディエンス録音をご用意しました。
本編プレスCDの解説でも触れたように、初来日は東京からスタートして各地を巡り、最後にもう一度東京へ戻るスケジュール。ツアー最後の渋谷公会堂だけは「一度成功した東京」に戻ってきたわけですが、それ以外は「初めての地」「初めての人々」という挑戦のショウばかりでした。本作の大阪公演は、そんな最後の挑戦地だったわけです。
そんな大阪公演は、以前からトレーダー間で取引されていましたが、本作のマスターはそれとは別。録音者から提供されたオリジナル・カセットを使用したもので、かつて『THE ZIGGY IN OSAKA』というタイトルで日の目を見たものです。実のところ、「The Jean Genie」から終演BGM「威風堂々」までのショウ後半だけの収録ですが、そのクオリティは絶品。最悪なサウンドのトレーダー・テープとはまるで違い、現場の空気を直接吸ったオリジナル・カセットだけが持つ鮮度も瑞々しく、ヴィンテージ感たっぷりながらクリアさ、ダイレクト感も素晴らしい。
しかも、本作はそのオリジナル・カセットから再デジタル化したバージョンで、さらに細心マスタリングで磨き込んだ最高峰盤。オリジナル・サウンドのナチュラルさを大切にしながらも、ボウイの歌声にグッとフォーカスを絞り、彼の息づかいまで感じられるようなリアル・サウンドに仕上げました。こうしたマスタリングの場合、声援や手拍子にも焦点が寄ってしまいがちなのですが、“初来日の初大阪”には、それもまた重要な要素。当時の熱狂を手触り感覚で味わえる仕上がりにいたしました。

さすがにショウ後半だけの録音だけに永久保存されて来なかったのですが、クオリティ的には文句なしにプレス級の名録音です。初めてボウイを目の当たりにした大阪の熱狂はもちろん、ここまでの地方公演で大喝采を浴び続け、東京へ凱旋する前の“最後の挑戦”に燃えるボウイの歌声も素晴らしい１枚。わずか32分ほどの短いライヴアルバムですが、二度はない瞬間を切り取った歴史的な記録なのです。ぜひ、大団円の感動作「TOKYO 1973 FINAL NIGHT」と合わせ、緊張から満喫へと変わってきたボウイの歌声をたっぷりとご堪能ください。

(31:42)
1. The Jean Genie
2. Time
3. Five Years
4. Let’s Spend The Night Together
5. Suffragette City
6. Rock ‘n’ Roll Suicide
7. Land of Hope and Glory(Outro.)