Queen / Definitive Budokan 1979 5th Night / 2CD+1DVD

Queen / Definitive Budokan 1979 5th Night / 2CD+1DVD / Wardour
Live at Budokan, Tokyo, Japan 25th April 1979.  SBD + AUD MIX

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The most famous “JAZZ JAPAN TOUR” is the most famous “April 25, 1979: Nippon Budokan” performance. A major decision board to update its longest and highest peak is appeared in the permanent preservation press 3 disc set.
Although this show became famous after being broadcasted on TV later, this work made full use of its professional shots, sound board, and even two audience recordings, and vacuum packed the day with the maximum and highest peak quality . It is a 3-disc set of “Full live album 2-disc set + professional shot DVD”. We store our 1979 tour with a number of titles, so let’s organize the collection according to the schedule first.

・ April 13 “BUDOKAN 1979 1ST NIGHT”
・ April 14 “BUDOKAN 1979 2ND NIGHT”
April 19th + 20th “DEFINITIVE OSAKA 1979”
・ April 21 “KANAZAWA 1979”
・ April 23 “PRIDE AND JOY (Japan Budokan)”
・ April 24: Nippon Budokan
・ April 25: Nippon Budokan ← ★ this work ★
・ April 27 “KOBE 1979”
・ April 28 “NAGOYA 1979”
・ April 30 + May 1 “MEMORIAL GYM (Fukuoka)”
・ May 2 “YAMAGUCHI 1979”
・ May 5th + 6th: Makomanai Ice Arena
※ Note: Only representative works each day.

[Disc 1-2: full live album by SBD + first appearance AUD] Above, all 15 performances. It was the biggest tour of their visits to Japan, but the Nippon Budokan in this work was the eighth show in the middle. This show is famous for professional shots broadcasted in Japan. However, what was broadcasted was about 32 minutes for 11 songs, which was far from a full show. This work complements the unbroadcast part with a masterpiece audience recording while making the most of the sound board sound. It is a full live album that conveys the complete form of the show.
What’s more, the soundboards used are not just the audience recordings used for completion. The audience recording is shocking above all. In fact, it is a new recording that will be the world’s first appearance! What’s more, the same recorder as the 1985 treasure “AT LAST BUDOKAN (Wardour-007S)” was recorded, and it was an excellent item that was awakened from the original cassette. Speaking of the highest peak recording of this day, it became “DREAMER’S BALL” which gained popularity in our shop, but this master goes further. Although it is a real sound that also absorbed the enthusiasm of the peak period, the performance sound and singing voice that tear up the heat is clear and clear. Although I do not go to a sense of closeness, I jump straight into the hand without being disturbed by the yellow hoarse voice, and I can understand the subtlety clearly.
And the sound board is not normal. Basically, it is a sound board sound source for TV broadcasting, but I used it carefully from several top masters. Of course, the height of the quality is at its peak, but the emphasis on that is the affinity with the new excavation audience. Use a recording that minimizes the discomfort of matching. Furthermore, I am carefully polished and connected by mastering. An outstanding audience recording that I never thought was present, and a sound board with a close balance. To be honest, I was forced to combine it with the soundboard in the “DREAMER’S BALL” master, but the complete live album was realized by the appearance of two masters.
Of course, since it is cassette recording at the time, the cut by a tape change is fate. Most of them could be held with the soundboard, but some cheering parts (after the closing performance of Let Me Entertain You, Somebody To Love, Don’t Stop Me Now) were missing, so that part is DREAMER’S Completed with BALL’s master. Three types of “Broadcast Soundboard + Introductory Audience + DREAMER’S BALL”, the show is recorded completely seamlessly without missing a second from “We Will Rock You” tape to tell the opening to “God Save The Queen” is.
It is wonderful to have a full experience of the show with a series of high-end sounds, but there are also a few interesting ways to enjoy and some unexpected discoveries. For example, “Let Me Entertain You”. I listened to the TV pro shot and the audience recording without hesitation, but when I try to synchronize correctly, the TV pro shot in the second half “1: 48-2: 44” is a big cut. Suddenly it was connected to the ending. Similarly, the drum solo of “Keep Yourself Alive” is edited briefly, and more interesting is “We Will Rock You.” Brian’s guitar comes in at the end of the session, but I play a guitar solo with a half tone high. This isn’t Lodi’s (it’s probably) because it’s the next song “We Are The Champions” and it’s Brian’s mistake. The broadcast cuts most of the out-of-order solos, but I’m editing by matching the book ends by entering and ending well. Exciting mistakes and highly sophisticated editing will be revealed by the combination of the sound board and the audience.

[Disc 3: the highest peak version of large standard pro shot] In addition to such a full live album, this work is also bundled and pressed with the highest edition of a large standard pro shot. Of course, this video is a compilation of “The Live QUEEN Live at Budokan PART I & II,” which was broadcast twice in the early 80’s, about 15 minutes each, in a late-night frame of a civilian station. It is a large standard among the large standard that has produced countless existing releases, but this work is the highest peak version that appeared from Masterport label in 2002, and is a version that was loved as the press DVD “BUDOKAN 1979” afterwards. It is an original master with nothing more than today.
It is an image that has been loved by many fans, but it is also an illusion. After all, this video was only broadcast once in the early 80’s. It was good until I recorded the Budokan live in a professional shot, but Freddie Mercury, who was not satisfied with the show’s performance, put out NG for the public. Normally, it would be buried in the dark of history as it was, but a few years later, a Japanese broadcaster shrewd at midnight. However, since it is an NG image, it is not an official archive or rebroadcasting. To the present, it is “the first broadcast only once”. And that broadcast was in the early 80’s. Even though home videos have gradually become popular, few people are able to record late-night programs so easily. As it was such an age, there are only a few recordings left. It is a picture that manias have stared to make it bit one gene one by one.
The end of such history was put in 2002. This work appeared from the Masterport label, without any dubbing, was a direct digitization of the original master itself recorded at the time of the broadcast. Moreover, the equipment used for the recording was also a professional use impossible in ordinary homes. Even when there were few people who could record themselves, it was a truly professional record.
The quality of this work is to prove such circumstances. As a matter of fact, it will be “air check of the 80’s”, but it is not the image quality and sound quality that are highly associated with the words. In addition to the current broadcast, the image beauty so detailed that it can be used for official works is as vivid and beautiful as if it were reprinted from a laser disc. Roger Taylor’s blonde, Fredy’s red costume lame, spotlight’s glow … And, after all, the coolness of sunglasses and black leather! Every particle from the beginning to the telop of “The Live QUEEN Live at Budokan” which celebrates the opening of the opening is one by one. Furthermore, the sound and two kinds of superb soundboards are also included, covering all the vertex records of the day. It is a super masterpiece pro shot that has nothing to do with it.

There used to be a press title “BUDOKAN 1979” with a professional shot DVD and a sound board CD, but this work is the CD version that has been expanded to full scale with the first appearance audience recording. It is a big decision board that the super masterpiece which had been sold out has been scaled up. In addition, if you change the viewpoint, this work can be said to be the last one of the Japanese trilogy. Its sisters are “DEFINITIVE SEIBU STADIUM 1982 (Wardour-330)” and “DEFINITIVE FINAL CONCERT IN TOKYO (Wardour-324)”. The live album, which complements the Japanese performance sound board with the best audience recording, was very popular. This work is its 1979 edition. It is the last one of the three remaining “Japan Soundboard Completed Trilogy”.
If you are having trouble getting the masterpiece “BUDOKAN 1979” out of print, or if you’re a mania who doesn’t have eyes on the newly discovered audience, you’ll have to buy a 3 CD Please enjoy it with perpetual preservation press 2CD + DVD.

人気絶頂の“JAZZ JAPAN TOUR”でも最も有名な「1979年4月25日:日本武道館」公演。その最長・最高峰を更新する一大決定盤が永久保存プレス3枚組で登場です。

・4月13日『BUDOKAN 1979 1ST NIGHT』
・4月14日『BUDOKAN 1979 2ND NIGHT』
・4月19日+20日『DEFINITIVE OSAKA 1979』
・4月21日『KANAZAWA 1979』
・4月23日『PRIDE AND JOY(日本武道館)』
・4月25日:日本武道館 ←★本作★
・4月27日『KOBE 1979』
・4月28日『NAGOYA 1979』
・4月30日+5月1日『MEMORIAL GYM(福岡)』
・5月2日『YAMAGUCHI 1979』

しかも、使用されたサウンドボードも、補完に使用されたオーディエンス録音がただものではない。何よりも衝撃なのがオーディエンス録音。実は、世界初登場となる新録音なのです! しかも、記録したのは1985年の秘宝『AT LAST BUDOKAN(Wardour-007S)』と同じ録音家であり、その大元カセットから起こされた絶品。この日の最高峰録音と言えば、当店でも人気を博した『DREAMER’S BALL』になるわけですが、今回のマスターはさらに上を行く。絶頂期の熱狂も吸い込んだリアル・サウンドではあるものの、その熱気を切り裂く演奏音と歌声が端正でクリア。間近感とまでは行かないものの、黄色い嬌声に邪魔されることなく真っ直ぐ手元に飛びこみ、機微までハッキリと分かるのです。
そして、サウンドボードも普通じゃない。基本的にはTV放送のサウンドボード音源なのですが、いくつもの極上マスターから厳選して使用しました。もちろん、クオリティの高さは頂点的ですが、それと同じくらい重視したのが新発掘オーディエンスとの親和性。マッチングの違和感を最小限に抑えられる録音を使用。さらにマスタリングで丁寧に磨き込んで接続しています。存在するとは思ってもいなかった傑出オーディエンス録音と、それに近いバランスのサウンドボード。正直なところ、『DREAMER’S BALL』マスターではサウンドボードと組み合わせるのも躊躇せざるを得ませんでしたが、2つのマスターの登場により完全ライヴアルバムが実現できたのです。
もちろん、当時のカセット録音ですからテープチェンジによるカットは宿命。ほとんどはサウンドボードで押さえることができましたが、いくつかの歓声パート(Let Me Entertain You、Somebody To Love、Don’t Stop Me Nowの終演後)は欠けていましたので、その部分は『DREAMER’S BALL』マスターで補完。「放送サウンドボード+新登場オーディエンス+DREAMER’S BALL」の3種で、開演を告げる「We Will Rock You」テープから「God Save The Queen」までショウを1秒も逃さずシームレスに完全収録しているのです。
最高峰サウンドの連続でショウをフル体験できるだけでも素晴らしいのですが、ちょっと面白い楽しみ方や意外な発見もある。例えば「Let Me Entertain You」。TVプロショットでもオーディエンス録音でも何気なく試聴していましたが、正確に同期させてみるとTVプロショットは後半「1:48-2:44」がばっさりカット。いきなりエンディングに接続されていた。同じように「Keep Yourself Alive」のドラムソロも短く編集されていますし、もっと面白いのが「We Will Rock You」。終盤でブライアンのギターが入ってくるのですが、どういうことか半音高いままギターソロを弾きまくる。次曲「We Are The Champions」では合っているので(恐らく)これはローディではなく、ブライアンのミス。放送ではさすがに調子外れのソロをほとんどカットしていますが、上手く入りとエンディングで帳尻を合わせてエディットしている。豪快なミスも、えらく巧みな編集もサウンドボードとオーディエンスの組み合わせで明らかになっていくのです。

本作は、そんなフル・ライヴアルバムに加えて大定番プロショットの最高峰版も同梱プレスしています。もちろん、この映像は80年代初頭に、某民放局の深夜枠で約15分ずつ2回放送された“ザ・ライブ QUEEN Live at 武道館 PART Ⅰ&II”をまとめたもの。無数の既発を生み出してきた大定番中の大定番ですが、本作は2002年にMasterportレーベルより登場した最高峰版で、その後プレスDVD『BUDOKAN 1979』としても愛されたバージョン。現在に至るも超えるもののないオリジナル・マスターです。
そんな経緯を証明するのが、本作のクオリティ。事実としては“80年代のエアチェック”となるわけですが、とてもその言葉から連想される画質・音質ではない。現在の放送どころか、オフィシャル作品にも使えるほどに詳細な映像美は、まるでレーザーディスクから復刻されたかのように瑞々しく、美しい。ロジャー・テイラーのブロンド、フレディの赤い衣装のラメ、スポットライトの光芒……そして、何と言ってもサングラスと黒レザーのカッコ良さ! オープニングを飾る時代がかった「ザ・ライブ QUEEN Live at 武道館」のテロップに至るまで、すべての粒子1つひとつまで克明。さらに音声も2種の極上サウンドボードも収録しており、当日の頂点記録をすべて網羅している。まさに超えるもののない超傑作プロショットなのです。

かつてプロショットDVDとサウンドボードCDのプレス・タイトル『BUDOKAN 1979』がありましたが、本作はそのCD編を初登場オーディエンス録音でフルスケールに拡大させたもの。完売になっていた超傑作がスケール・アップして甦った一大決定盤なのです。また、視点を変えると本作は日本3部作の最後の1本とも言える。その姉妹作は『DEFINITIVE SEIBU STADIUM 1982(Wardour-330)』と『DEFINITIVE FINAL CONCERT IN TOKYO(Wardour-324)』。いずれも日本公演サウンドボードを極上オーディエンス録音で補完したライヴアルバムが大好評を賜りました。本作は、その1979年版。3種残された「日本サウンドボードの完全化3部作」の最後の1本なのです。
廃盤の名作『BUDOKAN 1979』が手に入らなくて困っていた方も、新発掘オーディエンスに目のないマニアの方も必携の3枚組。どうぞ、永久保存プレス2CD+DVDでたっぷりとご堪能ください。


Disc 1 (61:00)
1. Intro. ★1:38 – 最後迄
2. We Will Rock You (Fast) ★全部
3. Let Me Entertain You ★0:00 – 1:48 / 2:44 – 2:59 ●2:59 – 3:10
4. Somebody To Love ●6:32 – 7:24
5. Death On Two Legs
6. Killer Queen ★0:03 – 最後迄
7. Bicycle Race ★全部
8. I’m In Love With My Car ★全部
9. Get Down, Make Love
10. You’re My Best Friend
11. Now I’m Here
12. Teo Torriatte ★0:00 – 4:10
13. Don’t Stop Me Now ★0:05 – 4:37 ●4:37 – 4:45
14. Dreamers Ball
15. Band Introductions
16. ’39

Disc 2 (54:44)
1. It’s Late
2. Brighton Rock
3. Guitar & Drum Solo
4. Brighton Rock (reprise)
5. Keep Yourself Alive ★0:14 – 2:54 / ★3:35 – 4:47
6. Bohemian Rhapsody ★0:00 – 2:08
7. Tie Your Mother Down
8. Sheer Heart Attack
9. We Will Rock You ★0:06 – 2:04 / ★2:24 – 最後まで
★(聴き所)We Will Rock Youでブライアンが、どういうことか半音高いままギターソロを弾きまくってます。(こんなミス、かつて聴いたことがありません!)次曲「We Are The Champions」では合っているので(恐らく)これはローディではなく、ブライアンのミス。放送ではさすがに調子外れのソロをほとんどカットしていますが、上手く入りとエンディングで帳尻を合わせてエディットしているのが分かります。豪快なミスも、えらく巧みな編集もサウンドボードとオーディエンスの組み合わせで明らかになっていくのが面白いポイントでもあります。(これならバンド側が「放送禁止」を厳命したのも分かりますね。あと日本放送側もナイスジョブ!)
10. We Are The Champions ★0:00 – 最後迄
11. God Save The Queen ★0:00 – 0:04



●既発AUD補填箇所(「Dreamer’s Ball」(Wardour-006)使用)

Dual Audio Option

1. We Will Rock You(fast) 2. Let Me Entertain You 3. Killer Queen 4. Bicycle Race
5. I’m In Love With My Car 6. Teo Torriatte 7. Keep Yourself Alive 8. Don’t Stop Me Now
9. Bohemian Rhapsody 10. We Will Rock You 11. We Are The Champions




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