What depth, what elegance... A superb stereo soundboard album that makes it impossible to spell words with just one sound is here. Why does "sound", which should be just a vibration of air, shake the soul so much? The protagonist of this work, which reaches the roots of such music, is ECHO & THE BUNNYMEN. Strangely enough, Ian McCulloch's performance in Japan is approaching, but this work contains ECHO & THE BUNNYMEN's first performance in Japan. This is a stereo soundboard album of the performance at Nakano Sun Plaza on January 18, 1984. ECHO & THE BUNNYMEN, who were extremely popular at the time, came to Japan twice in one year. There were many venues at the same time, so let's organize the two visits to Japan here.・January 12, 1984: Shibuya Public Hall ・January 13, 1984: Nagoya City Public Hall ・January 16, 1984: Osaka Festival Hall ・January 17, 1984: Nakano Sun Plaza ・January 18, 1984: Nakano Sun Plaza [This work] 《10 months later》 ・November 24, 1984: Shibuya Public Hall ・November 25, 1984: Shibuya Public Hall ・November 27, 1984: Nakano Sun Plaza ・November 29, 1984: Mainichi Hall ・November 30, 1984: Nagoya City Public Hall The above are the 5 performances x 2 of the 1984 Japan Tour. It shows how popular they were at the time, but this work is the final concert of their first visit to Japan in January. This live performance has been broadcast on the radio since then, and has produced many pre-releases. However, this work is not a copy of it. What flowed out from the master delivered by Core Mania is a superb sound world that is on a different level from the many pre-released groups. The contents of all 11 songs, which are about half of the live performance, are edited in the same way as the broadcast, but there is no noise or sound blur that was always present in the previous groups. Although the identity of the master has not been revealed, beautiful sounds flow out without a moment's gap. Moreover, it is not just a "scratch-free iron wall". The beauty of the "sound" is astounding. As you can see from the broadcast, it is a completely official recording, but the dimension of its beauty is not something that can be said lightly as "official class". In fact, even in the dimension of official works, there are bad sounds and famous sounds, so the word "official class" hides the phrase "as a bootleg". In this day and age when official archives are popular, you may have seen cases where the highest quality bootlegs are made official and then the general public says that the sound is bad. However, the sound of this work does not stand out in such a ring. It should be praised as a "masterpiece" and "masterpiece sound" in the official dimension. It is extremely detailed and clear, and the beauty of the detailed mix and sound is comparable to studio masterpieces such as "PORCUPINE" and "OCEAN RAIN", and even regular official live albums have no gaps. Japanese audiences also play a part in the quality that makes it hard to believe that it is a live recording. In the 1980s, there were many concerts where the yellow screams of idols were flying, but this work does not have any such voices. It is not that the sound board spoils the cheers. Applause rises between songs, and if you listen carefully with headphones, you can hear one or two people cheering during the performance. In other words, the audience was recorded properly, but it was quiet. ECHO & THE BUNNYMEN themselves did not call out to the audience or make jokes, but the mood of "just music" was the same on the audience side. It was a miraculous space where the "Japanese groove" that many bands/artists are confused by and ECHO & THE BUNNYMEN's sincerity resonated silently. Although the songs and performances occupy the stage just like in the studio works, this work is undoubtedly a live album. The feeling is conveyed fiercely from the passionate performance. The silent tension and concentration emanating from the audience hits the stage, and the band pushes it back with their performance. The heat is different from the studio works where each person plays towards the producer, and from the studio live where the audience's faces are not visible. The raw passion of singing and playing towards the expressions in front of you is certainly alive. Although it is a very popular stereo sound board, it is a piece filled with beautiful sounds that you have never heard before. Is it really possible to pursue "good sound" and "good performance" to this extent? This live album makes you wonder. Recently, SADE's "PROMISE IN TOKYO" became an unprecedented big hit, and this album has the same feeling as that masterpiece. "Music" is the magic where "sound", which is nothing more than vibrations in the air, affects the "hearts" of people. Live at Nakano Sunplaza, Tokyo, Japan 18th January 1984 STEREO SBD (54:06) 1. Over The Wall 2. Back Of Love 3. Stars Are Stars 4. The Killing Moon 5. All That Jazz 6. The Cutter 7. Never Stop 8. Thorn Of Crowns 9. Crocodiles 10. All My Colours 11. Do It Clean Ian McCulloch - vocals, guitar Will Sergeant - guitar Les Pattinson – bass Pete De Freitas - drums STEREO SOUNDBOARD RECORDING
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