Rolling Stones / Tokyo 1998 1st Night / 2CD / Non label
Live at Tokyo Dome, Tokyo, Japan 12th March 1998
Play sample :
The long-awaited re-release of the Rolling Stones’ Babylon Tour performance series in Japan has been very well received, but this time the opening day of the Tokyo Dome will be a long-awaited revival! Last time was the second day of Osaka and Tokyo Dome, but this time it’s the first day …! The enthusiast who noticed that is sharp. Yes, this time too, the re-releases are being carried out in the same order as when they were released in 2014. That is why it is inevitable that the recurrence of “TOKYO 1998 1ST NIGHT”, which was the masterpiece of the first day of Tokyo Dome, will be realized on the limited press CD.
As I said when I re-released the last two performances, it can be said that the 1998 performance in Japan was the last time that the recording equipment was still apt to suffer from the echo peculiar to Tokyo Dome. Above all, it was difficult to secure a good positive between the tapers because this day was the first day of my visit to Japan, and the rear tie release group was just conspicuous in the recording state wrapped in the echo of the dome.
“TOKYO 1998 1ST NIGHT” (hereinafter referred to as “already released”) released eight years ago is Mick Jagger’s “2 NIGHTS IN DOME” like “TOKYO 1998 2ND NIGHT” which was just re-released last time. “FOXY NIGHTS”, Stones’ “DOME ON WHEELS” and “FUKUOKA 1995 2ND NIGHT” by the taper that was the basis of the masterpieces. However, this sound source is a sound image with a sense of distance compared to the second day of the dome. Again, the dilemma on the first day of Tokyo Dome in 1998 was still alive, but it was clear that the sound quality was much easier to hear than the items released in Rear Thailand. It was a masterpiece that became Sold Out in a blink of an eye when it was released in 2014.
It seems that the appeal of this sound source is that the noise of the surroundings that was in the rear tie release group of the day is hardly noticeable, but the biggest problem is the distance of the sound when moving to the B stage. Isn’t the volume level even lower? This time, Graf Zeppelin, who was in charge of brushing up the sound source, paid the most attention to this point. Such volume ups and downs are a common phenomenon in DAT audiences from the 1990s to the mid-2000s, and just adjusting them makes them much easier to hear. Graf Zeppelin made a detailed adjustment this time as well, focusing on these issues.
Therefore, this time as well, we have achieved a version upgrade that makes use of the latest technology without spoiling the characteristics of the original release eight years ago. In the first place, the rear tie release group at the time of 1998 is a good place to be difficult to obtain. Even more so, this re-release is not just a recurrence, it is sure to be a savior for enthusiasts who have never heard of a performance in Japan in 1998. Above all, it recreates the nostalgic performance in Japan with ease of listening that is incomparable to those rear tie items.
And after all, it’s a memorable day when the Rolling Stones in Babylon Mode came to Japan. The members of Stones, including Mick, are enthusiastic enough to challenge the stage of Tokyo Dome, which is clearer than the past items. Among them, Mick’s sharpness is really unique, and the new song “Flip The Switch” etc. is enough to foresee the enthusiasm of the second day of Tokyo Dome. The fact that “Bitch” starts without introducing any songs is a scene that conveys the tension that seems to be the first day, and the performance is also full of speed. On the contrary, this momentum did not subside in the next “Saint Of Me”, and it seems that the second half of the performance is not only exciting, but it seems to be the first day to finish with a feeling of running more than usual.
The net voting number on that day was “Under My Thumb”, and it seems that many people were deeply moved by the fact that this song was finally released in Japan (as was the case with me at that time). .. However, when I listen to it again, compared to the “OSAKA 1998 2ND NIGHT” version, which was unveiled for the second time in Japan, it is not as cohesive or sharp, and there are even scenes where the performance becomes suspicious in the middle. This seems to be the first day again. In addition, Keith Corner was a song selection that changed the taste of the tour so far, and I was deeply moved by the day when I could hear “Wanna Hold You” live.
The scene where the spectators who were present on that day would have watched over with the most spit was the B stage, which became the first mountain of the Japanese show. It was an epoch-making stage set introduced to shorten the sense of distance to the audience other than in front of the arena, and at the same time, it was knocked out by the minimum number of members and the development of killer tunes such as “Little Queenie” and “The Last Time”. It was done. In this way, it was a good point of this year that even if a “rare” repertoire was unfolded in a sense, it was more exciting than the first visit to Japan and the second performance in Japan, and the problem of this part is even more so with this re-release. It makes a lot of sense to have been adjusted.
And it was “You Can’t Always Get What You Want” at the end of the live that eloquently told the excitement that was incomparable to the past two performances in Japan. It catches me with. As I said this, it was a scene where I was able to feel the excitement of “It’s different from my previous visit to Japan!” It’s a time, even a really dazzling sight. Such a nostalgic 1998 Tokyo Dome, a famous audience album that recorded a night of excitement is fully re-appeared by brushing up Graf Zeppelin!
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(Remaster memo) REMASTERED BY GRAF ZEPPELIN
★ Slightly adjusted low and high frequencies.
★ Removes mic crunching noise at the beginning (track 1 1:05, 1:07-08 near right ch)
★ B stage Adjust the volume slightly at a distance and low volume.
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Non label