The first Nippon Budokan performance in 31 years was held for three consecutive days. A superb live album containing the final day “September 23rd” is now available. This week, “BUDOKAN 2016 1ST NIGHT”, which opened on the first day with an amazing sound, will also appear, but this work is an audience album that should be called a “brother work”. After all, it was the same recording artist who made these two records a thing. “BUDOKAN 2016 1ST NIGHT” had a sound that was not complimented by compliments such as “like a soundboard” and “like an official,” but this work is also an ultra-quality recording that does not yield even half a step. The musical tone is as thick as a rough rope, yet as delicate as silk. It approaches with such force that you can feel the pressure of the wind coming from the speakers, and the details are as vivid as the minute grains of sand on a sandy beach. And it truly rivals "BUDOKAN 2016 1ST NIGHT" in terms of the audience's applause, the huge scale of the singing voices, the beauty of the communion with the stage, and the beautiful "ringing" that can only be achieved by spatial recording. Of course, what made such a great recording possible was due to master recording techniques and advanced equipment, but on top of that, it seems that the position was also exquisite. As expected, they couldn't tell me the exact seats, but roughly speaking, both games will be in the south stand. In other words, it was located directly opposite the stage across the octagonal space of Nippon Budokan. Those who have experienced this position will understand that the most delicious sound at Nippon Budokan is in the "space in the middle." Performances poured in from the front stage, excitement erupted from the arena seats spread out directly below, and loud cheers from the surrounding stands gathered in the ``space in the middle.'' The sounds that are being made here are musical tones and applause, but they do not mix together. The sounds coming from different directions intersect and weave the entire “concert” like a tapestry. The ``south side stand'' is in direct contact with the ``middle space,'' and the balance between left and right is even, and the musical sound from the front even feels like it ``pierces through.'' What is recorded in this work is such an exquisite sound. So, is it the same as "BUDOKAN 2016 1ST NIGHT"? That's not true. "BUDOKAN 2016 1ST NIGHT" had seats on the second floor of the south stand, but for this show, seats were on the first floor. In terms of stereoscopic effect, "BUDOKAN 2016 1ST NIGHT" is superior by about 1/4 step, and in terms of the thickness of the musical tone, this work, which is closer to the stage, is superior by about 1/4 step. This is just a difference in taste. The sounds are similar (of course), but the show itself is completely different. As for the set, “The Show Must Go On”, which was played on the first day, has dropped, but the mood is even more different. I guess you could describe it as “the sense of urgency on the first day after 31 years” and “the sense of fulfillment on the last day.” He sings and plays really well, and speaks well (lol). Adam keeps chanting “Tokyo!” and even Roger takes over as MC. Even on the first day, I was able to listen to Brian's Japanese MC after "Somebody To Love", but this work is also in great condition. They chanted, "Good evening, everyone in Tokyo! How are you? (Audience: How are you!) Really? (Honto!)" He also said, ``Today is special. We're coming to Nippon Budokan for the 12th time!'' he said excitedly. Of course, Brian's Japanese for "12 times" is just wrong, and he immediately rephrases it in English as "20 times! Beautiful place, right here!!" As if they liked it on the first day, there will be lots of selfie photo sessions on this day as well. That kind of mood engulfs the entire show and is very warm. The audience chants louder than on the first day for the Japan-exclusive "Hand in Hand," and the applause for "I Was Born to Love You" is also strong. It is a live album that makes you feel like you are surrounded by the space of Nippon Budokan, floating in a sea of finely tuned and vast choruses. In 2016, 70 years after his birth and 15 years after his death, an asteroid was named "Freddiemercury" and Freddie truly became a star. The final day was spent waiting for the 20th time at the Nippon Budokan, where we returned for the first time in 31 years. This is a book that captures such a memorable night with the best sound. Live at Budokan, Tokyo, Japan 23rd September 2016 TRULY PERFECT SOUND(from Original Masters) Disc 1 (72:56) 1. Intro. 2. Seven Seas of Rhye 3. Hammer to Fall 4. Stone Cold Crazy 5. Fat Bottomed Girls 6. Don't Stop Me Now 7. Killer Queen 8. Somebody to Love 9. Love of My Life 10. Teo Torriatte (Let Us Cling Together) 11. These Are the Days of Our Lives 12. Drum Battle 13. Under Pressure 14. Crazy Little Thing Called Love Disc 2 (68:46) 1. Another One Bites The Dust 2. Vocal & Guitar Improvisation 3. I Want It All 4. Who Wants to Live Forever 5. Guitar Solo 6. Tie Your Mother Down 7. I Want to Break Free 8. I Was Born to Love You 9. Bohemian Rhapsody 10. Radio Ga Ga 11. We Will Rock You 12. We Are the Champions 13. God Save The Queen Brian May - Guitar, Vocal Roger Taylor - Drums, Vocal Adam Lambert – Vocal Spike Edney - Keyboards, Backing Vocals Rufus Taylor - Drums, Percussion, Backing Vocals Neil Fairclough - Bass, Backing Vocals
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