CHICAGO in the 1980s entered a golden age again with the US number one "Hard to Say I'm Sorry" and the huge success of "CHICAGO 16". The best live in Japan is here. This work contains the performance in Japan in 1984, which was the first in 11 years. This year's visit to Japan is also famous for the FM broadcast of the "January 10: Nippon Budokan" performance, but this big three-disc set includes the best master on Disc 3 and the superb full recording of "January 8: NHK Hall". First, let's check the composition from the schedule at that time. ・January 8: NHK Hall ★Disc 1-2★ ・January 9: Nippon Budokan ・January 10: Nippon Budokan ★Disc 3★ ・January 14: Fukuoka International Center ・January 17: Yokohama Cultural Gymnasium ・January 18: Aichi Prefectural Gymnasium [Disc 1-2: Full live album of NHK Hall] The first to appear is the favorite of this work. This is a full live album from the NHK Hall. The reason why this performance at the NHK Hall is the top of the list, even though it is the first day of the performance, is because it is the first day of the performance at the NHK Hall, but the sound is also the main character. Although it is an audience recording that directly uses the master directly handed over from the recording artist himself, the quality is so beautiful that it is hard to believe that it is a guest recording! The person who made this work is a master of recording in the 1980s, who has been releasing many masterpiece press titles in our shop. This work is one of the best in the collection of masters. In fact, the sound of this work is strange. The neat and beautiful sound shines crystal clear, and the details that reach straight are vivid everywhere. The applause is also captured on the on, so it is clear that it is an audience recording, but the applause is quiet during the performance, and the precise ensemble is very clear (there is even a classical concert-like mood, such as waiting until the song is over and coughing). In other words, it is a type that can be called "just like a sound board", and even if you compare it with the FM sound source set on Disc 3, the bass sound is slightly different, so it is completely equal. The FM broadcast of Nippon Budokan also mixed in fresh cheers, so at first I couldn't believe my ears and thought, "Is this the full-length version of that broadcast!?" The sound depicts a full show that could not be experienced with FM sound sources. Everything is wonderful because it is a different performance at a different venue, but the final tackling of "I'm A Man", "Gimme Some Lovin'", and "Feelin Stronger Everyday", which could not be heard on the broadcast, is delicious. And the atmosphere of "11 years" that runs through the whole story and the smell of entering the golden age again. You can enjoy it with the reality that comes from the audience recording in one go. [Disc 3: Soundboard of Nippon Budokan] And next is the best stereo soundboard album that symbolizes "Japan in 1984". It is a superb master who was once popular as "SWEET MARIE" from the Trial label. The quality is official class. The amazingness of Disc 1, which can play a leading role in front of such a sound board... Aside from that, the highlight of this is the close contact that only a sound board can provide. The direct feeling of the bass picking nuances is wonderful, and the rhythm section and guitar cutting are also straight-forward and noriyoshi performance jumps into your brain. At this time, Bill Champlin had just joined, and Peter Cetera was still enrolled, and the vocal work that faithfully reproduces the record is also vivid. Also, the stereo feeling makes you feel that "sound boards are different after all". The clarity is on par with the superb recording of Discs 1-2, and the separation of each instrument is not lost. However, the audience recording (of course) comes from the front. In contrast, the sound board is surrounded by the band. The performance approaches from the right, left, and front, creating a three-dimensional feeling as if you were in the middle of the stage. Although this damages the sense of detachment, it also strongly stimulates the psychology of fans who want to get closer. The show depicted on such a soundboard is the taste of the 1980s itself. A collection of luxurious masterpieces rushes in one go, and "Stay the Night" is also performed as early as "CHICAGO 17", which was in production at the time. In addition, the show is fun with more variety than just "delicious hit songs", such as Bill's solo numbers such as "Satisfaction" and Peter's "Livin' in the Limelight", the precious "Follow Me", and "Ballet For A Girl In Buchannon", which is played in full for 13 minutes. CHICAGO in 1984 was reviving and taking a leap forward. A few months left until the release of "CHICAGO 17", which will reach its peak... This is the best record of a live in Japan that was realized in such a moment. This is a record that can be integrated with the band on an iconic soundboard and synchronized with the times with a newly discovered superb audience. Budokan, Tokyo, Japan 10th January 1984 STEREO SBD Live at NHK Hall, Tokyo, Japan 8th January 1984 Disc 1 (41:53) 1. Intro. 2. Beginnings 3. Scrapbook 4. Follow Me 5. Stay the Night 6. If You Leave Me Now 7. Satisfaction 8. Ballet for a Girl Ii Buchannon / Make Me Smile So Much to Say, So Much to Give / Anxiety's Moment / West Virginia Fantasies Colour My World / To Be Free / Now More Than Ever Disc 2 (61:46) 1. Livin' in the Limelight 2. Sweet Marie 3. Does Anybody Really Know What Time It Is? 4. Love Me Tomorrow 5. Hard to Say I'm Sorry / Get Away 6. Saturday in the Park 7. 25 or 6 to 4 8. I'm a Man 9. Gimme Some Lovin' 10. Got to Get You Into My Life 11. Feelin Stronger Everyday Disc 3(76:23) Live at Budokan, Tokyo, Japan 10th January 1984 1. Beginnings 2. Scrapbook 3. Follow Me 4. Stay The Night 5. If You Leave Me Now 6. Satisfaction 7. Ballet For A Girl In Buchannon 8. Livin' In The Limelight 9. Sweet Marie 10. Does Anybody Really Know What Time It 11. Love Me Tomorrow 12. Hard To Say I'm Sorry/Get Away 13. Saturday In The Park 14. 25 or 6 to 4 15. Get To Get You Into My Life FM BROADCAST RECORDING
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