Peter Gabriel's performance in Japan has only been held six times in history. The last piece of this is the birth of a super-excellent original recording. The final work records the “March 7, 1994: Nippon Budokan” performance. It is a transcendental audience recording that vacuum-packs the whole story. This work itself is a shocking music album, but it is also a monumental work in Peter's history collection of Japan. In order to explain the meaning, let's summarize his Live in Japan that has been realized to date. 1986, December 20th “JAPAN AID 1986 (Jingu Stadium)” December 21st “JAPAN AID 1986 (Jingu Stadium)” 1988, September 27th “HUMAN RIGHTS NOW! (Tokyo Dome)” 1994 March 7th: Nippon Budokan ←★Coco★・March 8th “SECRET JAPAN LIVE (Budokan)”・March 10th “SECRET JAPAN LIVE (Osaka Castle)” A total of 6 performances in Japan. So far, we have archived three original recordings "JAPAN AID 1986", "HUMAN RIGHTS NOW!" and "SECRET JAPAN LIVE", but the only thing that was missing was "First day of 1994". This work is a live album that conveys that last performance. Moreover, it is not just a fill-in-the-blank, but a superb recording with "super" quality. This is a masterpiece collection that has produced many press-quality masterpieces for various bands, and the crystal clear atmosphere is penetrated straight through by the on-core, and the details are such that you can feel the vibe of the synths and bass drum shaking the floor. It's so delicate that you can almost feel it. It is different from the close feeling that can be mistaken for a sound board, but that is not a drawback but a beauty. Various instruments are played in a way that overlaps each other, and each note comes out sparkling without being mixed together. The majesty and feeling of rain is wonderful, and the roaring chorus is also a spectacle. It is by no means inferior to "SECRET JAPAN LIVE" which is said to be a masterpiece... or should I say, I have covered countless artists' live performances at Budokan, and I have never felt that the sense of octagonal space is beautiful. I don't remember much. It is easy to listen to like an official live album, but the beauty and reality are even greater than that...This work is a super beautiful recording that allows you to enjoy the spectacle of such a dimension. I found out that it's important for a collection, and that the sound is really good. So, what about the important live performance...?This is also a wonderful thing that is unique to this work. Since the set changes daily, let's organize it here by comparing it with "SECRET JAPAN LIVE" which has two other performances. US (6 songs)・Come Talk to Me/Steam/Blood of Eden/Kiss That Frog (★)/Digging in the Dirt/Secret World Others (10 songs)・CAR: Solsbury Hill・MELT: Games Without Frontiers (*) /Biko (*)・SECURITY: San Jacinto・SO: Sledgehammer/In Your Eyes・Others: Across the River/Shakin' the Tree/Quiet Steam (★＊)/Lovetown (*) *Note: "★" marks are for others A song that was not performed at the performance "SECRET JAPAN LIVE". Songs marked with an asterisk (*) cannot be heard on the official version of “SECRET WORLD LIVE.” ...and it looks like this. It's a shame that the standard "Shock The Monkey" and "Don't Give Up" that were played at other performances are not available, but it would be a luxury to be able to listen to the limited "Secret World Tour" song "Kiss That Frog" instead. I can not say. In addition, you can enjoy plenty of valuable Japanese performances, such as ``Games Without Frontiers'', which was not heard on the traditional version ``PLAYS LIVE'', and ``Lovetown'', which was provided for the movie ``Philadelphia''. And a Japanese MC. On top of "Quiet Steam," he said, "I'm happy to finally come to Japan. This is a song to cheer everyone up," and before "Games Without Frontiers," he added, "I wrote this song to oppose discrimination and... However, this problem still persists." She apologizes, saying, ``I'm sorry I can't speak Japanese,'' but her awkward pronunciation, which turns the ``problem'' into ``Mondique,'' is typical of the first day. "The first day of 1994" has been the only one missing so far. I never thought the day would come when I could deliver that with the super-excellent sound so far. Even if you ignore the preciousness, it is a world of beautiful sounds like the ultimate in audience recording, and it is a new discovery that will make you excited to hear the live performance and MC for the first time. This album is sure to captivate not only those who have loved his previous masterpieces, but also those who experience Peter Gabriel's solo work for the first time. Superb audience recording of the "March 7, 1994: Nippon Budokan" performance. Mastered for the first time by a veteran master, the crystal clear atmosphere is penetrated straight through by the on-core, and the details are so delicate that you can feel the vibe of the synths and bass drum shaking the floor. The majesty and sense of rain are wonderful, and the roaring chorus is also a spectacle. It is a super beautiful recording that is easy to listen to like an official live album, and has even more beauty and realism than that. Songs that cannot be heard on "SECRET WORLD LIVE" such as "Games Without Frontiers", "Biko", and "Lovetown" are also the birth of a delicious new masterpiece. Budokan, Tokyo, Japan 7th March 1994 TRULY PERFECT/ULTIMATE SOUND(from Original Masters) Disc 1(64:54) 1. SE:Zaar 2. Come Talk to Me 3. Quiet Steam 4. Steam 5. Games Without Frontiers 6. Across the River 7. Shakin' the Tree 8. Blood of Eden 9. San Jacinto 10. Lovetown Disc 2(65:32) 1. Kiss That Frog 2. Solsbury Hill 3. Digging in the Dirt 4. Sledgehammer 5. Secret World 6. Band Introductions 1 7. In Your Eyes 8. Biko 9. Band Introductions 2 / Outro Peter Gabriel - Vocals, Keyboard, Harmonica David Rhodes - Guitar Tony Levin - Bass Manu Katche - Drums Jean-Claude Naimro - Keyboards Paula Cole - Vocals
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