ELP returned to Japan in 1992, which may have excited many people 23 years ago. The 4CD "BLACK MOON IN TOKYO" is the definitive album that captures that experience with the best sound, but this work "BLACK MOON IN LOS ANGELES" brings back those memories even more vividly. The video, which is taken from an angle looking down from the top left of the stage, is stable from beginning to end, and the approximately 2-hour stage is completely recorded. Although it is obviously video quality, the image quality is very clear and beautiful, and you can almost see the close-ups, facial expressions, and wrinkles of each member. The reason why such a beautiful zoom makes me so happy is because of the photographer's amazing skill in not missing the highlight even when the song is complicated. It is natural that it will be improved by solo and famous action. More than that, we pay close attention to every detail. For example, during the pole position (!) "Tarkus", I accurately grasped Carl's position in the darkness and waited to capture the dramatic opening scene, and during the break, I pulled out the entire scene before the flash went off to maximize the effect. It has been raised to What's more, even in "Black Moon," which was probably not very well known at the time, Angle knew that the harmonica would be included in the intro, and the moment when Angle went ahead and threw out the harmonica was a perfect shot. Is this photographer a person familiar with the stage production, or perhaps he has watched the reunion of ELP many times and knows everything about concerts? Even though it's a keyboard trio with little movement, and it's a one-shot shot of the audience, it's hard not to get bored during the two-hour long scene. Great skill and tremendous passion. After that, during "C'est La Vie," which was not played at the Japan concert, Keith appeared looking like a casual accordion player, and during "Lucky Man," Keith performed a synth solo using his specialty, the crucifix. , there are many things to see. After finishing "Lucky Man," you can see a scene in which Greg throws the acoustic guitar in the air at Rhodey (it hits the floor and makes a thud!). There is also a thrilling scene in "Rondo" at the end. After the familiar organ fighting play, I got carried away and was about to run up to the PA when the marshal at my feet wobbled and looked like it was about to fall! Later, when playing Bach from the opposite direction, he jumps from a high position into a group of keyboards, an action that could cause serious injury if he made a wrong move. The performance itself is full of interesting points. In "Touch And Go", which was just added to the repertoire, the ensemble is stiff, the distribution of Keith's tones is strange, and the sharpness is subtle. In the masterpiece "Pirates", Keith plays an unusual solo at 3:04, the drum part in the middle development part is long, and Greg also sings in an unusually spontaneous manner. Furthermore, the ending arrangement has been changed to make it longer, making it a much more fulfilling version. Anyway, this work alone is full of fun and highlights, but even more than that, it is a film that will increase the enjoyment of the main story "BLACK MOON IN TOKYO" several times. The sights and actions that I had read about in magazines and imagined in photos appeared right in front of my eyes, one after another, during that performance in Japan. This is one work that brings back vivid memories. Live at Wiltern Theater, Los Angeles, CA. USA 16th March 1993 1. Intro. 2. Tarkus 3. Knife Edge 4. Paper Blood 5. Black Moon 6. Close To Home 7. Creole Dance 8. Still You Turn Me On 9 C'est La Vie 10. Lucky Man 11. Honky Tonk Train Blues 12. Touch And Go 13. Pirates 14. Hoedown 15. Pictures At An Exhibition 16. Drum Solo 17. Pictures At An Exhibition(Reprise) 18. Fanfare For The Common Man 19. America 20. Rondo/Fanfare 21. Finale COLOR NTSC Approx.115min.
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