“August 1981” is an unforgettable moment for Japanese hard rock fans. It was a summer when the new guitar god, M.S.G. led by Michael Schenker, and the new RAINBOW of Ritchie Blackmore, who is synonymous with guitar heroes, came to Japan and excited the archipelago. Following M.S.G. the other day, RAINBOW's masterpiece "DEFINITIVE BUDOKAN 1981: 1ST NIGHT" will appear this week, and yet another sound source will be released for the first time. That is this work, the audience album of the “August 24, 1981: Kyoto Kaikan” performance. Our store has delivered many audience albums from the “DIFFICULT TO CURE JAPAN TOUR”, but this will be the first performance in Kyoto. Now let's look back at the entire tour. ・August 18: Fukuoka Sun Palace “NO SMOKE WITHOUT FIRE” ・August 20: Osaka Festival Hall ・August 21: Osaka Festival Hall “DIFFICULT TO DEAL” ・August 23: Nagoya City Public Hall ・August 24 Sun: Kyoto Kaikan [This work]・August 26: Nippon Budokan “DEFINITIVE BUDOKAN 1981: 1ST NIGHT”・August 27: Nippon Budokan “BLACKMORE-TURNER OVERDRIVE”・August 28: Nippon Budokan “BLACKMORE-TURNER” OVERDRIVE” (Note: Only the representative audience album for each performance) In this way, RAINBOW’s 1981 Japan performance was a total of 8 performances. The Kyoto performance of this work is the fifth performance. The Kyoto performance, which had not had a bootleg release so far and only the latest recordings between traders were known, has finally appeared. You might think, “It’s a bad recording because it hasn’t come out before…”, but the quality of this work is a wonderful audience sound that will instantly clear up such worries. Coincidentally, the Kinney recording "DEFINITIVE BUDOKAN 1981: 1ST NIGHT" released at the same time suddenly raised the standard, so it can no longer be called "Tour No. 1!!", but compared to the conventional "DIFFICULT TO CURE JAPAN TOUR". By that standard, it's definitely a great recording. It uses a master that was discovered in recent years, and the solid musical tone and wonderful balance are just amazing, so much so that lines like "you can enjoy it without stress" sound like idiots. The feel of the vocals and rhythm section has an audience-like feel, but the direct feeling of the keyboard is comparable to line recording, and even the creaking arming of the guitar, which is the most important part, is ultra-realistic. And the fierce on-site sensation is amazing. When I write this, you may think, ``I wonder if the audience's voice is a noisy recording...'', but that's not the case. It's the extremely thick musical tone that overwhelms everything, but when Joe Lynn Turner asked for a call, a huge chorus resounded, and it lined up so perfectly that it made me think, "Maybe it's more accurate than Rondinelli!?" Waves of applause wash over me. The feeling of being surrounded by such enthusiasm and immersing your body and soul in it is extremely real. The atmosphere is exactly what it feels like to be in the summer of 1981. As a matter of fact, there was a two-week period between M.S.G. and RAINBOW’s Nippon Budokan performance, which was discovered from the Kinney recording, but it was much closer in Kyoto. M.S.G.'s Kyoto performance was held on August 20th, and this work was released just four days later. The audience packed into Kyoto Kaikan experienced Michael Schenker for the first time on Thursday, and watched RAINBOW on Monday after the weekend. Even in just one performance, the enthusiasm with which M.S.G. at its peak and the new RAINBOW were brought together was extraordinary, and even though it was just two weeks away, it had an amazing feeling of "somewhere in the air" that was different from the one at Nippon Budokan. From the beginning of the show, it's like an idiot, but with each song, the enthusiasm continues to improve. Particularly powerful is the final scene, and even though "Maybe Next Time" tries to cool down the performance, the voices asking for an encore continue to grow, and the voices of "Richiiiii!!!" I'm missing it. A firm announcement of ``We'd like to end the Kyoto performance!'' echoes through the venue, but even the female voice is mixed with a wry smile that says, ``What are these people doing?'' ...I couldn't help but talk about the audience, but there's no way Richie wouldn't get fired up after being hit head-on with such enthusiasm. I wouldn't have thought about Michael Schenker, but the song is full of passion and passion to prove the new formation with the two Americans. Even though all parts of Japan were his ``first land,'' Joe couldn't afford to lose his reputation in Japan, which has a large number of voters! You can hear plenty of her powerful voice. Joe era RAINBOW came to Japan three times, but 1981 was the peak in terms of “spirit”. It is a live album where you can fully enjoy one of the masterpieces. This is the first Kyoto performance, and one of the best recordings from the 1981 Japan tour. Moreover, it is a passionate audience album where the magic that only existed in “August 1981” explodes even more than at the Budokan. 35 years have passed since this work was performed live. It's been a while. However, even now, after experiencing all the twists and turns that followed, this is a book that brings back the summer that was wrapped in a special glow. An unforgettable, ultra-real album with that hot air blowing out of the speakers. Live at Kyoto Kaikan, Kyoto, Japan 24th August 1981 PERFECT SOUND Disc 1 (47:06) 1. Land Of Hope And Glory 2. Over The Rainbow 3. Spotlight Kid 4. Love's No Friend 5. I Surrender 6. Lazy Intro 7 Man On The Silver Mountain 8. Catch The Rainbow 9. Can't Happen Here Disc 2 (44:37) 1. Keyboard Solo 2. Lost In Hollywood 3. Guitar Solo 4. Difficult To Cure 5. Jam 6. Drum Solo 7. Long Live Rock 'N' Roll 8. All Night Long 9. Maybe Next Time 10. Over The Rainbow Ritchie Blackmore - Guitar Joe Lynn Turner - Vocal Roger Glover – Bass Don Airey - Keyboards Bobby Rondinelli – Drums
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