Metallica / Damaged Justice Japan Tour 1989 / 4CD

Metallica / Damaged Justice Japan Tour 1989 / 4CD / Zodiac

Sangyo Bunka Kaikan, Kawasaki, Japan 11th May 1989,Yoyogi Olympic Pool, Tokyo, Japan 13th May 1989

Play sample :

Click Image To Enlarge

 

METALLICA in 1989, in search of tight, complex and aggressive heavy metal before opening the groove. The legendary live album that tells them that they will return to Japan will be reissued.
の There are two performances engraved on this work. This is the finest audience recording set recorded in the performances of “May 11, 1989: Kawasaki City Industrial Culture Hall” and “May 13, 1989: National Yoyogi Stadium”. The biggest point of this work is the sound quality and live content of the tremendous, but first, the position of the show. Let’s look back on the schedule at that time.

・ May 11: Kawasaki City Industrial Culture Center ← ★ This work DISC 1-2 ★
・ May 13: National Yoyogi Stadium ← ★ This work DISC 3-4 ★
・ May 14: Yoyogi National Stadium
・ May 16: Osaka Welfare Pension Hall
・ May 17: Osaka Welfare Pension Hall
・ May 18: Nagoya City Public Hall

More than 6 performances. The style around Higashi Meihan is the same as the first visit to Japan in 1986, but in Tokyo it is scaled up to the large venue Yoyogi Stadium. It is a schedule that can finally see the popularity of Japan that has become full-fledged. Meanwhile, the two performances of this work were the start dash of the first day and the second day.

[The highest peak of super-named recordings that have been representing Japan in 1989] 本 This work that recorded such two performances is a super-named recording that has been representative of the second Japan tour. Both are directly digitized from the original cassette by the same recorder, but that person is the legendary taper that made many famous recordings in the 1980s. It is a brand name that can be called the representative work. In fact, this work is a superb sound just because it is a legendary master. Anyway, it’s crisp and dry. It’s not a mistake for a sound board, but the feeling of air is crystal clear and the powerful core jumps straight into the ear like a laser beam. The riff that blows violently is sharp to the edge of the gary, and the outline of each stroke is clear without mixing the bangs of the bass drum. More than that is James vocals. It penetrates through the middle of the ensemble, which has become a sound wall (the point that is not a lump of sound), and approaches with a sense in front of you. At this time, it is a slush voice that is a different dimension from the later singing, but you can still listen to each word of the lyrics clearly while being aggressive.
In addition, such a sound is surprising because it does not move in two performances. The venue size is quite different between Kawasaki City Industrial Culture Hall (Disc 1-2) and National Yoyogi Stadium (Disc 3-4). The direct feeling of the core and the details of the details are five and five minutes. It is said that Kobo brush is not chosen, but it seems that the recording master does not choose the venue.
And this work is also the highest peak of such a famous recording. As a matter of fact, Yoyogi Recordings (Disc 3-4) is one of the most staple recordings since its arrival in Japan, and has produced countless hits. However, since this work has been digitized from the original cassette, dubbing deterioration is not completely eliminated. When it first appeared, it was highly acclaimed by professional magazines as being “exactly the same source, but the sound quality has jumped dramatically, and the master quality is just as high as the difference between heaven and earth.”

[The world of DANAGED JUSTICE where the metallic luster of the glittering glows] What is drawn with such a sound is a cult METALLICA only at this time, which is different from the early club live and the yokozuna sumo since the 1990s. Speaking of “DAMEAGED JUSTICE TOUR”, anyway, the official “LIVE SHIT: BINGE & PURGE” Seattle performance is famous, so let’s compare and organize.

● Cliff era number (8 songs)
・ KILL ‘EM ALL: Seek & Destroy / Whiplash
・ RIDE THE LIGHTNING: For Whom The Bell Tolls / Creeping Death / Fade to Black
・ MASTER OF PUPPETS: Welcome Home (Sanitarium) / Master Of Puppets / Battery
● … AND JUSTICE FOR ALL (6 songs)
・ Blackened / Harvestor Of Sorrow / Eye Of The Beholder (★) / To Live Is To Die / One / … And Justice For All
● Cover (6 songs + α)
・ Jam # 1 (Smoke On The Water / How Many More Times) (★) / Jam # 2 (Twist & Shout <first day only> / Symptom Of The Universe <second day only> / Run To The Hills / Helpless) ( ★)
・ Others: Little Wing / Last Caress / Am I Evil? / Breadfan
* Note: The “★” marks are songs that cannot be heard in official Seattle performances.

… and it looks like this. The performance in Japan is about three months before the Seattle performance, and the flow is quite different even if the selection itself is very similar. The cover jam that plays playfully at the beginning of the 1st / 2nd encore is also completely recorded. And what’s even better is “Eye Of The Beholder”. A rare song that was not only seen in the official pro shots, but also played only until July 1989. METALLICA is a band that frequently reprints past songs, but “Eye Of The Beholder” has never played since then, and it is a genuine “Masterpiece only in 1989”.
な く Not only the show itself, but this work also has the best document feeling. In the intro of “One”, which had penetrated as the first PV, cheers like an angry buzzing out, and the familiar “Seek & Destroy” burp laughs. Also interesting is the difference in size between the two shows. The venue of the Kawasaki performance was a valuable venue of about 2,000 people, and at first there was an anecdote that Lars reluctantly refused and set up the goddess while being examined without a statue. The contrast between the feeling of closed rooms and the vast spectacle of Yoyogi is also super realistic.

After that, METALLICA went into the 1990s and awakened to groove and dynamism, and transformed. Just before 1989. While dramatically increasing the level of skill with global success, he delivered a metal paradise to Japan, with a shiny metallic finish. A legendary live album where you can experience such two performances with the finest sound. Please enjoy it with the big permanent press 4CD!

まだグルーヴに開眼する前、タイトで複雑でアグレッシヴなヘヴィメタルを追究していた1989年のMETALLICA。そんな彼らの再来日を伝える伝説のライヴアルバムが復刻リリース決定です。
そんな本作に刻まれているのは２公演。「1989年５月11日：川崎市産業文化会館」公演と「同５月13日：国立代々木競技場」公演で記録された極上オーディエンス録音セットです。本作最大のポイントは凄まじいまでのサウンド・クオリティとライヴの中身なのですが、まずはショウのポジション。当時のスケジュールを振り返ってみましょう。

・５月11日：川崎市産業文化会館　←★本作DISC 1-2★
・５月13日：国立代々木競技場　←★本作DISC 3-4★
・５月14日：国立代々木競技場
・５月16日：大阪厚生年金会館
・５月17日：大阪厚生年金会館
・５月18日：名古屋市公会堂

以上、全６公演。東名阪を巡るスタイルは1986年の初来日と同じながら、東京では大会場の代々木競技場にスケールアップ。いよいよもって本格化してきた日本人気が透ける日程です。そんな中で本作の２公演は、初日と２日目というスタート・ダッシュでした。

【1989年来日公演を代表してきた超名録音の最高峰】
そんな２公演を記録した本作は、二度目のジャパンツアーを代表してきた超名録音。どちらも同じ録音家によるオリジナル・カセットからダイレクトにデジタル化したものなのですが、その人物こそ80年代に名録音の数々をモノにしてきた伝説的なテーパー。その代表作とも言うべき銘品なのです。実際、本作は伝説の名手だからこその超極上サウンド。とにかくキリッと淡麗辛口。サウンドボードと間違えるタイプではないのですが、その空気感はクリスタル・クリアに透き通り、力強い芯がレーザー光線の如く真っ直ぐ耳元に飛び込んでくる。猛烈に吹き出すリフはギャリギャリとしたエッジまで鋭利で、バスドラの乱打も混じり合うことなく１打１打の輪郭までくっきり。それ以上なのがジェイムズのヴォーカル。音の壁（音の塊ではないところがポイント）と化したアンサンブルのド真ん中を貫き、目の前感覚でグイグイと迫る。この頃はまだ後の歌い込みとは次元の違う吐き捨てスラッシュ・ヴォイスなのですが、アグレッシヴでありながら歌詞の１語１語までハッキリと聴き取れるのです。
しかも、そんなサウンドが丸々２公演で微動だにしないから驚く。川崎市産業文化会館（ディスク１-２）と国立代々木競技場（ディスク３-４）ではだいぶ会場サイズが異なるのですが、違いと言えば後者の方が鳴りの広がり方と観客の盛り上がりにスペクタクルを感じる程度で、芯のダイレクト感やディテールの詳細さは五分と五分。弘法筆を選ばずとは言いますが、録音の達人も会場を選ばないようです。
そして、本作はそんな名録音の最高峰盤でもある。実のところ、代々木録音（ディスク３-４）は、来日当時から有名な録音で無数の既発を生んできた大定番でもある。しかし、本作はそのオリジナル・カセットからデジタル化しているためにダビング劣化がまるでない。初登場した際には専門誌からも「全く同じソースながら、音質は格段に飛躍しており、正に天と地の差くらいのマスタークオリティ」と大絶賛されたのです。

【ギラッギラの金属光沢が輝くDANAGED JUSTICEの世界】
そんなサウンドで描かれるのは、初期のクラブ・ライヴとも90年代以降の横綱相撲とも違う、この時期だけのカルトなMETALLICA。“DAMEAGED JUSTICE TOUR”と言えば、何はさておきオフィシャル『LIVE SHIT: BINGE & PURGE』のシアトル公演が有名ですので、比較しながら整理してみましょう。

●クリフ時代ナンバー（８曲）
・KILL ‘EM ALL：Seek & Destroy／Whiplash
・RIDE THE LIGHTNING：For Whom The Bell Tolls／Creeping Death／Fade to Black
・MASTER OF PUPPETS：Welcome Home (Sanitarium)／Master Of Puppets／Battery
●…AND JUSTICE FOR ALL（６曲）
・Blackened／Harvestor Of Sorrow／Eye Of The Beholder（★）／To Live Is To Die／One／…And Justice For All
●カバー（６曲＋α）
・ジャム#1（Smoke On The Water/How Many More Times）（★）／ジャム#2（Twist & Shout〈初日のみ〉/Symptom Of The Universe〈２日目のみ〉/Run To The Hills/Helpless）（★）
・その他：Little Wing／Last Caress／Am I Evil?／Breadfan
※注：「★」印は公式のシアトル公演では聴けない曲。

……と、このようになっています。来日公演はシアトル公演の約３ヶ月前にあたり、セレクト自体は酷似していても流れは結構違う。1st/2ndアンコールの冒頭で遊び的に演奏するカバー・ジャムもしっかりと完全収録しています。そして、それ以上に嬉しいのが「Eye Of The Beholder」でしょう。公式プロショットで見られないだけでなく、1989年７月までしか演奏されなかったレア曲。METALLICAは、現在でも過去曲をちょくちょく復刻するバンドですが、「Eye Of The Beholder」はそれ以降一切演奏していない、正真正銘「1989年だけの名曲」なのです。
そんなショウそのものだけでなく、本作はドキュメント感も最高。初のPVとして浸透していた「One」のイントロでは怒号のような歓声が沸き、お馴染み「Seek & Destroy」のゲップネタでも爆笑が起きる。また、２公演のサイズの違いも面白い。川崎公演の現場は貴重な2000人規模の会場で、当初は女神像なしも検討されつつラーズが頑として拒んで無理矢理に設置したという逸話も残っている。その密室感と代々木の広大なスペクタクルとの対比も超リアルなのです。

その後、90年代に突入すると共にグルーヴとダイナミズムに目覚め、変質していったMETALLICA。1989年はその直前。世界的な成功で練度を飛躍的に上げながら、あくまでも金属光沢ギラッギラなメタル・パラダイスを日本に届けてくれた。そんな２公演を極上サウンドで体験できる伝説のライヴアルバム。どうぞ、ビッグな永久保存プレス４CDで存分にご堪能ください！

Live at Sangyo Bunka Kaikan, Kawasaki, Japan 11th May 1989

Disc 1(58:05)
1. Ecstasy Of Gold
2. Blackened
3. For Whom The Bell Tolls
4. Welcome Home (Sanitarium)
5. Harvestor Of Sorrow
6. Eye Of The Beholder
7. Bass Solo
8. To Live Is To Die
9. Master Of Puppets
10. One

Disc 2(66:54)
1. Seek & Destroy
2. …And Justice For All
3. Smoke On The Water / How Many More Times
4. Creeping Death
5. Fade to Black
6. Guitar Solo
7. Little Wing
8. Battery
9. Twist & Shout / Run To The Hills / Helpless
10. Last Caress
11. Am I Evil?
12. Whiplash
13. Breadfan

Live at Yoyogi Olympic Pool, Tokyo, Japan 13th May 1989

Disc 3(58:08)
1. Ecstasy Of Gold
2. Blackened
3. For Whom The Bell Tolls
4. Welcome Home (Sanitarium)
5. Harvestor Of Sorrow
6. Eye Of The Beholder
7. Bass Solo
8. To Live Is To Die
9. Master Of Puppets
10. One

Disc 4(66:17)
1. Seek & Destroy
2. …And Justice for All
3. Smoke On The Water / How Many More Times
4. Creeping Death
5. Fade to Black
6. Guitar Solo
7. Little Wing
8. Battery
9. Symptom Of The Universe / Run To The Hills / Helpless
10. Last Caress
11. Am I Evil?
12. Whiplash
13. Breadfan

James Hetfield – Guitar, Vocal
Lars Ulrich – Drums
Kirk Hammett – Guitar
Jason Newsted – Bass

ZODIAC 374