Wild Horses/Tokyo,Japan 10.28.1980

The famous band WILD HORSES was once counted as one of the Four Heavenly Kings of NWOBHM and was also a crossroads of British rock connections. A miraculous new discovery of an original recording that allows you to experience the legendary performance in Japan at its best. What is engraved on this work is “October 28, 1980: Performance at Shibuya Public Hall.” This is the best audience recording. Speaking of WILD HORSES’s first visit to Japan, the masterpiece “HEAVY RIDE” recorded by Miracleman reigns as a standard at our store, but this work is a completely different performance. First, let’s look back at the schedule at that time and confirm each other’s positions.October 28th: Shibuya Public Hall This work October 29th: Nakano Sunplaza HEAVY RIDE October 31st: Aichi Labor Hall November 1st: Expo Hall Official single Above, Total of 4 performances. “HEAVY RIDE” was also performed in Tokyo, but the performance of this work at Shibuya Public Hall was the day before. It was Lee’s first day, the first meeting between Japan and WILD HORSES. This work recorded at such a scene is an original master that will be released for the first time in Japan, and is a truly neat and rich masterpiece. The sharp sound of HEAVY RIDE is still powerful, but this work is even more dynamic. The sound emitted by the on-site PA is coded to sound like a hall sound, and it has a thick and powerful sound. Of course, if the sound becomes blurry and bouncy, there is nothing wrong with it, but there is no need to worry about that with this work. The core that runs through the center of the ring is extremely straight, and the detail that accompanies it also belies the thickness of the ring. The heavy bass, which tends to be a weak point for 80’s audiences, is glossy and beautiful, and the midrange is also responsive. If we compare this nuance to a soundboard, “HEAVY RIDE” is an “IEMs type” with its core exposed, and this work is an “FM broadcast type” treated with mix and effect processing. Moreover, the decorative feel is not intentional, but full of the natural feeling and reality that is typical of an audience recorded in one shot. It is a famous recording full of richness and elegance. There is a reason why it was recorded that way. I think some people may be intrigued by the title “DEFINITIVE MASTER”, but this work was created by a recording artist who is currently a hot topic. In terms of HR/HM, it is a collection by the master who shocked collectors with WHITESNAKE’s first visit to Japan, Graham Bonnet era RAINBOW, 1985 DEEP PURPLE, etc. Such a rich sound depicts the first day of the precious WILD HORSES. Naturally, while it is very similar to “HEAVY RIDE,” it is not exactly the same, so let’s compare and organize it here. WILD HORSES (8 songs)Dealer/Blackmail/No Strings Attached/Criminal Tendencies/Flyaway/Street Girl/Face Down/Reservation Others (8 songs)STAND YOUR GROUND: New York City/I’ll Give You LoveSingle B Side: The Kid/The Rapist/Saturday NightOthers: The Stash/Going Down/Rock Me Baby () *Note: “” marks are famous songs that cannot be heard on “HEAVY RIDE”. …and it looks like this. All songs from their soon-to-be-released debut album, except for “Nights on the Town” and “Woman,” have been widely distributed, with single B-sides and numbers from their second album “STAND YOUR GROUND” interspersed with them. To be honest, at the time, they didn’t respond to the crowd who were expecting famous songs by RAINBOW and THIN LIZZY, and instead went all out with the WILD HORSES color, but the show gradually became more heated, with both the band and the audience feeling confused. I’m going. After all, HEAVY RIDE on the second day after the performance started was very different. Over there, there was a sudden equipment problem that caused some voices to say, “It’s no good!” and “Shiraketori!”, but the first day’s production got off to a great start. The Japanese MC before “Blackmail”, “Kombanwa Tokyo! Watatachiha Sho Shishika Nihongo Gaarimasen!”, was also decided from the second day (although it is a bit strange). Then, I was once again reminded of the goodness of the song and the twin flavor inherited from THIN LIZZY. The harmony between Brian Robertson and new member John Lockton is as beautiful as Scott Gorham. This group of masterpieces, combined with Jimmy Bain’s catchy melody sense, still exudes the flavor of good old British rock that is reminiscent of UFO. WILD HORSES was a super band that was called one of the Four Heavenly Kings of NWOBHM, but never achieved great success. However, the scene was full of beautiful harmonies and hidden gems that failed to become famous. It was a miracle that such a full show was realized in Japan. This work is a new excavation live album that allows you to witness the scene with the best sound. A uniquely “British rock” flavor that cannot be found in the United States or Japan. A superb audience recording that conveys the legendary first day of Japan’s visit “October 28, 1980: Shibuya Public Hall performance”. This is an original master released for the first time in Japan by the recently talked about master taper, and it is a truly neat and rich masterpiece. This is a masterpiece recording that not only has a strong core, but also the sound that codes it in a good way, which is fresh, clear, thick and dynamic. This is a new excavated live album that allows you to experience the legendary scene at its finest, mainly featuring the debut work that was counted as the “NWOBHM Four Heavenly Kings”, as well as valuable single songs and a cover “Rock Me Baby” that cannot be heard even on our masterpiece “HEAVY RIDE”. Live at Shibuya Kokaido, Tokyo, Japan 28th October 1980 TRULY PERFECT SOUND(from Original Masters) (76:32) 1. Intro. 2. Dealer 3. Blackmail 4. No Strings Attached 5. Criminal Tendencies 6. The Stash 7. Flyaway 8. Street Girl 9. Face Down 10. New York City 11. Reservation 12. The Kid 13. The Rapist 14. Going Down 15. I’ll Give You Love 16. Saturday Night 17. Rock Me Baby Jimmy Bain – Bass, Vocals Brian Robertson – Guitar, Vocal John Lockton – Guitar Clive Edwards – Drums