Asia/Moscow, USSR 1990 LD Ver.

Another release this week is the Asia edition, a Japanese Laserdisc reissue! It is footage of an outdoor live performance held on November 9th, 1990, commonly known as "09-X1-90", almost one month after the original Japanese performance, at the Olympia Stadium in Moscow, Soviet Union, in front of an audience of 20,000 people. It was once released in Japan as "Asia Moscow Live" on a domestic video/LD version, but no official DVD exists to this day (※ Due to complicated rights issues, it is unlikely that an official DVD will ever be released). I was surprised to find that two video works, "ANDROMEDA - ASIA LIVE 1990" and this one, were filmed in the same year, but this one, "Moscow Live," in particular, features a documentary touch that is full of footage taken during their stay, such as backstage and stage setup, road crew, interviews with local media, members enjoying shopping at an open market, the city at the time, and above all, the promotional video for "Prayin' 4 A Miracle" filmed in the local "Red Square." It allows you to get closer to ASIA at the time. The change in Pat's appearance, with his hair growing longer since "Live 1990" in June, is interesting, but the biggest change is that all the members' faces have become softer. In "Live 1990," the band still had a sense of uncertainty and tension, and their expressions were stiff, but in Moscow, not only in the backstage and off-shots, but also during the performance, all the members were expressive and relaxed. That wonderful 1990 Japan performance was not officially recorded as a live album or video, but it was very meaningful for us Japanese fans that the show and the members' appearance from almost the same period, which had a similar structure to the Japanese performance, were preserved along with the video full of off-shots. The Japanese LD version of the Moscow live performance was also of exceptional quality. If you have seen this video, you will know that the lighting of this live performance was probably intentionally based on "red." Of course, this is thought to be because of the image color of the communist socialist country, but in fact the red color is very vivid on the Japanese LD version. This is especially noticeable when watching the VHS videotape version released at the same time, where the reds of the video version are more blurred due to the characteristics of the magnetic tape, and everything that is shown (especially the light source and the outlines of people) lacks sharpness due to the low resolution of the color difference signal. On the other hand, the LD version boasts a horizontal resolution of over 400 lines, and the colors of everything that is shown are crisp and sharp, making it easy to grasp the shapes and textures of objects, so the difference in the amount of information and horizontal resolution depending on the recording medium is clearly visible. At the time of its release (March 31, 1991 in Japan), only negative aspects were pointed out, such as the obviously added applause and the strangeness of the audience scenes, which were probably filmed on home video (and the same audience scenes are reused several times), but the LD version has such clear image quality and sound that even the amateurish editing is lovable, and it conveys the documentary nature of this live performance to the present day. Like the "Live 1990" released at the same time, this work was digitally transferred using the latest equipment from the first playback of a completely unopened M+ Japanese LD for 26 years, and the beauty of the image is so dazzling that it's hard to believe. The red components mentioned above are also close to zero noise because there are no scratches on the disk, and the sound is powerful stereo itself, and it is probably the best quality we can hope for at this point. For example, in "Sole Survivor," Wetton's rising voice has a core in the mid-range more than the magnetic tape version, and the difference and advantage of the recording media are noticeable not only in the image quality but also in the sound image. In the bridge in the middle of the song, Pat is tapping, and even at the end, you can see how he colors the sound with a wonderful hard touch without destroying the image of the original song, and the music is pulled up, and this is also played with a wonderful image beauty that is beyond complaint. Downes' solo part, "Cutting In Fine," a so-called Bolero scene, features documentary-like footage of Wetton being interviewed by local media, rehearsing, and the construction of the set, which also involves the mobilization of Russian soldiers. Even just the construction of the set boasts a resolution that allows you to see every single steel frame. This scene is played back in a rougher and more blurry image on the video version, and it is also a scene that shows how much information the LD had. In "Days Like These," the stage is illuminated for the first time with a strong blue spotlight, which changes from red to blue, and this bold color change is also a stunning color that exceeds the video version. On the other hand, the color of Wetton's skin tone as he sings in the dark with a pin spotlight on it in "Rendezvous 6:02," and the reproduction of the pale lighting are also outstanding, and the scene in "The Heat Goes On" where Carl, who is playing the drums toughly, winks at us, also appears in the highest quality ever. In the bridge of the song, Downs comes to the front with a shoulder keyboard and the three front members perform passionately, but you will be impressed by the fact that this formation, unique to that time, has been preserved with such exquisite visual beauty. "Prayin' 4 A Miracle" is a scene centered on a promotional video shot at Moscow's Red Square at the time, and here too, you will be amazed at the contrast between the "red" of Pat's guitar, Downs' scarf and pants, and the hat of the child watching the performance, and the monochrome basic image, which is vivid in comparison to the VHS version. "Go", which is again hit by the blue spotlight, features an energetic Wetton who sings more passionately than in Nottingham in June, and the passionate performance in the second half of the song, which is extended in the second half, is still moving even when viewed today. Here, the contrast between the colors and the light source is magnificent, the sharpness of the reflection on the instruments is extraordinary, and the performance ability that brings out the original power of the song is revived with special sound. "The Smile Has Left Your Eyes" stands out with the excellent coloring of the white grand piano that emerges, and the rare scene of Pat playing the bridge guitar that the original Howe played on the 1982 European tour can be followed perfectly with the tough sound image and super clear image unique to LD. "Open Your Eyes" also shows Wetton as a singer, as he lowers his hands and starts singing while standing upright under the bright blue spotlight, and you can visually understand that he was the first to be presented as a singer, and you will be excited to see him perform as a bassist in the vivid lighting, as shown in the beautiful image directly connected to the mint LD. If you watch "Heat Of The Moment" again, you will see that it was recorded with a very clear sound. The quality of the image is increasingly high, and even though Pat is in black clothes, the outline of the person stands out clearly against the jet black background, and the wonderful image beauty is maintained until the end of the disc. As you all know, after the band toured South America in early April 1991, Carl left the band, followed by Pat and Wetton in July, and the dream was quickly crushed. (Note: In Japan, the news of Wetton's departure was probably first reported on the FM Sound Market program on September 12, 1991.) In that sense, this Moscow live performance released on March 31, 1991, could be said to be the last gift left by Asia from 1989 to 1990 when Wetton was in the band. "I moved to King Crimson in 1972. That was good, but I started Asia in 1982. There were times when things didn't go well, but that was the best part of my career." As a fan, I would expect such a comment, but perhaps for Wetton, musical continuity was the person he was working with, and not a specific band. Looking back, it was only a little less than two years, but during that time there were major turning points in history, such as the fall of the Berlin Wall and the perestroika and glasnost just before the collapse of the Soviet Union, during which Asia was reborn and struggling to find a new course. In light of that, many people will be impressed by how lively Wetton is as he challenges himself again when watching this live footage. That is the aim of this work, not because Wetton has passed away, but because he was boldly challenging himself again with Asia, which could be said to be the culmination of his career, and this is a pressed DVD that was opened for the first time in 26 years from an unopened Japanese LD and transferred using the latest equipment. It is unacceptable that such an important title has been out of print for so long and there is no prospect of re-release. This weekend, we hope you will pick up this DVD, which is worthy of being kept forever, as well as the simultaneously released ``ANDROMEDA: ASIA'S GREATEST HITS LIVE: Laser Disc Edition,'' and reunite with the passionate Wetton who was challenging himself! Live at Olymmpijski Stadium, Moscow, USSR 9th November 1990 Taken from the original Japanese Laser Disc (CSLM-797) 1. Introduction 2. Only Time Will Tell 3. Sole Survivor 4. Cutting In Fine 5. Days Like These 6. Rendezvous 6:02 7. The Heat Goes On 8. Book Of Saturday 9. Prayin' 4 A Miracle 10. Go 11. The Smile Has Left Your Eyes 12. Open Your Eyes 13. Heat Of The Moment John Wetton - Bass & Vocal Geoffrey Downes – Keyboards Pat Thrall - Guitar Carl Palmer - Drums PRO-SHOT COLOUR NTSC Approx.66min.