2 CD

Label: Wardour 401
Country: Japan
Released: February 2020.
Recorded: Live at Saitama Super Arena, Saitama, Japan 25th January 2020.
Sound: Excellent audience recording.
Comments:  From the Japanese 2020 tour with Adam Lambert on lead vocal.
The band played 4 shows in Japan on this 'The Rhapsody Tour'. All shows released by various bootleg labels.
Roots: Audience recording.
Time: 64:16 / 70:02

Front cover
 1. Intro
 2. Innuendo  (opening part, on tape)
 3. Now I’m Here
 4. Seven Seas of Rhye
 5. Keep Yourself Alive
 6. Hammer to Fall
 7. Killer Queen
 8. Don’t Stop Me Now
 9. Somebody to Love
 10. In the Lap of the Gods… Revisited
 11. I’m in Love With My Car
 12. Bicycle Race
 13. Another One Bites the Dust
 14. I Want It All
 15. Brian MC
 16. Teo Torriatte
 17. Love of My Life
 18. ’39
 19. Doing All Right  (first part only)

 1. Crazy Little Thing Called Love
 2. Under Pressure
 3. Dragon Attack
 4. I Want to Break Free
 5. You Take My Breath Away
  (tape, intro only) ~
 6. Who Wants to Live Forever
 7. Guitar Solo
 8. Tie Your Mother Down
 9. The Show Must Go On
 10. I Was Born To Love You
 11. Radio Ga Ga
 12. Bohemian Rhapsody
 - - - - - - - - encore - - - - - - - -
 13. Ay-Oh 
(live tape, Freddie's crowd jam '86)
 14. We Will Rock You
 15. We Are the Champions
 16. God Save the Queen

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Back cover

Review from internet.

QUEEN + Adam Rampart’s “THE RHAPSODY TOUR” showed a lift during the heyday following the big boom that started with the movie “Bohemian Rhapsody”. The best original recording that preserves the first day forever!
Of course, this work includes “January 25, 2020: Saitama Super Arena Performance”. Many first day albums have already appeared in response to the unprecedented excitement, but it is a superb audience recording that shines at its highest peak. This week, three press CD titles will be released at the same time, but this is the first one. Here, let’s check the position of the memorable Japan performance itself from the whole view of “THE RHAPSODY TOUR” as a basic of the basics.

● 2019
・ February 24: ACADEMY AWARDS appearance
・ July 10-August 23: North America (26 performances)
・ September 21: Performance in Italy

● 2020
・ January 18 + 19: Korea (2 performances)
・ Jan. 25-30: Japan (4 performances) ← ★ coco ★
・ February 5-29: Oceania (10 performances)
・ May 24-July 8: Europe (27 performances)

[From masterpiece to ultimate. Superb sound completely reborn] This is the whole picture of the world tour that has been published to date. Last year, the main tour was in North America, and this year the schedule covers Asia, Oceania and Europe. This work is a 2-disc full live album that completely records the first day performance that became the best of such a performance in Japan.
This show was already reported last week as part of the four-piece masterpiece masterpiece “SAITAMA SUPER ARENA 2020” (hereafter, “previous work”), but in fact, this work refined the first day with meticulous mastering Things … wait a minute! You might have thought that it was a remastered board, but it was too quick to decide. This is a new board that has been reborn into a ridiculous sound. Even if you say “remaster” in the first place, there is a wide range of failures. That would have been felt in the experience by many collectors. Of course, it depends on your mastering skills, but more importantly, the original sound. In particular, audience recordings vary in personality, and even if they have a similar sound, it is completely different if you carefully check the type of sound, the directivity, the stereo feeling, and the sense of separation in each range. And each one is a type that can be improved by mastering, and there is something that can not be done even if it is too much (meaning that it will not be physically changeable, but if it is processed even a little, it will become unpredictable). In addition, the determination is quite troublesome. You can get some eye-catching stars in the waveform, but you don’t know how much it will improve without actually working.

Although the extra talk has become longer, the recording that became the basis of this work is the one with the best compatibility with mastering. It’s like being reborn. The previous work was a name recording with a strong core and detailed details, but the sound was somewhat rounded and the vividness was not fully conveyed. On the other hand, this work suppresses the thick sound and raises the core, and the outline is also sharp. In addition, the applause that was too loud in some places was reduced. As a result, the powerful core of the performance sound roars more directly and the edges are extremely sharp. The sound of the previous work is crystal clear as if it were over frosted glass. The point here is that “the sound was not completely wiped away.” Of course, I think that it feels much thinner than the previous work, but it still gives the core a luster and feels the depth of the bass. The result is a sound with a natural balance that is different from simply extracting the peak, and a generous response to each range.

If you do not know the previous work, the explanation will be refreshing, but those who listen only to this work can only say “excellent”. It doesn’t mistake for a sound board because it sucks fresh cheers and harmony, but it is comparable to a sound board in terms of thickness, clarity and closeness. The tone of the snare, which tends to give a sense of distance, does not seem to be an audience, and the deep bass kicks up the five organs and the midrange shakes the six sounds. And the treble that extends beautifully over it. Adam’s singing Vivrath is super clear, not to mention the lyrics, but Roger’s shout is a breathtaking level. And Brian’s orchestration is thick, but not cloudy or cloudy, giving off a golden glow like a temple on the scene screen. Well, imagine a film concert with an official album, for example. The sound of the performance is just superb, and the mood to rejoice is just vivid. This work is a live album spelled with such a sound.