{"title":"Rare Original Japanese Concert Posters","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRare original Japanese concert posters\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e represent some of the most fascinating and historically significant surviving examples of international rock music advertising. Produced to promote live performances, landmark Japanese tours and major concert events, these original posters document the arrival of some of the world's most celebrated musicians in Japan during the golden age of rock and popular music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJapan Poster Shop holds a carefully curated specialist collection of authentic original Japanese concert posters\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including exceptionally scarce first-tour advertising, original performance announcements and historically important promotional artwork associated with major international musicians.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong the most significant highlights are our \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese Led Zeppelin concert posters from their first Japanese tour in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The band's inaugural visit included performances at Tokyo's Nippon Budokan, Hiroshima and Osaka, marking an important moment in the history of international rock music in Japan. Our holdings have included original advertising for the legendary Nippon Budokan concerts and the September 1971 Hiroshima performance, with surviving original examples particularly prized by collectors of Led Zeppelin memorabilia.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOther notable examples include \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eElton John's original Japanese first-tour concert poster from 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, documenting his early appearances before Japanese audiences, and original promotional artwork for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGrand Funk Railroad's celebrated 1971 Kōrakuen Stadium performance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Our collection and archive also encompass early Japanese concert advertising associated with Chicago, The Police and other influential international acts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf particular historical interest is the story of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eThe Rolling Stones' proposed Japanese concerts in 1973\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, sometimes described as the band's \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ephantom Japanese tour\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Although the scheduled performances were cancelled, original promotional material was produced for the planned engagements. Contemporary examples associated with these unrealised concerts occupy an unusual place in rock memorabilia history, documenting an event that was announced and advertised but never actually took place.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal Japanese concert posters are especially collectible for their cultural importance, scarcity and distinctive period graphic design.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Many display original Japanese typography, concert dates, venue information, promoter credits and artwork created for specific domestic campaigns. Such details provide a direct historical record of the performances and the circumstances in which international musicians were introduced to Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese were working promotional materials, often displayed at concert venues, record shops and other advertising locations. Many were discarded following their original purpose, making surviving first-printing examples, particularly those in exceptional condition, increasingly difficult to acquire. Rarity varies considerably according to the performer, event, printing, condition and documented history of the poster.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOur collection includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eultra-rare, museum-grade concert posters alongside other authentic vintage Japanese live-music advertising\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, encompassing both available works and important previously handled examples from our gallery archive. Each is individually sourced and catalogued in Japan, with careful attention to originality, printing history, condition and provenance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor information about Japanese B2, B1 and other poster dimensions, explore our \u003c\/span\u003e\u003ca href=\"https:\/\/japanposter.co.uk\/pages\/poster-sizes\"\u003e\u003cstrong\u003e\u003cspan\u003eJapanese Movie Poster Size Guide\u003c\/span\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003cspan\u003e. We also invite collectors to explore our wider \u003c\/span\u003e\u003ca href=\"https:\/\/japanposter.co.uk\/collections\/exclusive-posters\"\u003e\u003cstrong\u003e\u003cspan\u003eRare \u0026amp; Museum-Grade Poster Collection\u003c\/span\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvery poster offered by Japan Poster Shop is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eauthentic original\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, not a reproduction or modern reprint. Each is accompanied by a Certificate of Authenticity, with worldwide DHL Express shipping available from our gallery in Tokyo.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"led-zeppelin-1971-original-japan-tour-poster-hiroshima-rock-concert-original-release-japanese-movie-poster-1968-b2-size-51-x-73cm-c214","title":"\"Led Zeppelin 1971 Original Japan Tour Poster Hiroshima Rock Concert\", Original Release Japanese Movie Poster 1971, B2 Size (51 x 73cm) C214","description":"\u003cp data-mce-fragment=\"1\"\u003eThis is an original Japanese poster printed in 1971 for the promotion of Led Zeppelin 1971 Original Japan Tour Poster Hiroshima Rock Concert. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is a fantastic investment for a Led Zeppelin memorabilia collector.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is an \u003cstrong\u003eextremely rare\u003c\/strong\u003e poster and is in \u003cstrong\u003enear mint\u003c\/strong\u003e condition. To our knowledge, there has not been another sold and this poster is much rarer, and more valuable than the already extremely rare Tokyo Budokan concert poster. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eThe original print from 1971 featuring Led Zeppelin's concert in Hiroshima, Japan. This poster commemorates Zeppelin's groundbreaking 1971 Japanese tour, marking their debut in Asia. Despite its brevity from September 23 to 29, the tour was a resounding success, with every show selling out. The highlight of the tour was the band's unforgettable benefit concert in Hiroshima on September 27, widely regarded as a standout moment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis poster is in \u003cstrong\u003enear mint\u003c\/strong\u003e condition. Please refer to the imagery (both front and back) as this is the exact poster that is for sale. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is over 53 years old!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is not a reproduction or a reprint.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCertificate of Authenticity included.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eC214\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":45015932338421,"sku":"","price":12500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/living-room-corner-with-fancy-armchair-2024-04-10T152357.086.jpg?v=1712730307"},{"product_id":"led-zeppelin-レッド-ツェッペリン-original-japanese-first-tour-concert-poster-1971-nippon-budokan-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery","title":"“Led Zeppelin” (レッド・ツェッペリン), Original Japanese First-Tour Concert Poster 1971, Nippon Budokan, Ultra Rare Holy Grail, B2 Size (approx. 51.5 × 72.8 cm \/ 51 × 73 cm) - Gallery","description":"\u003cp\u003e\u003cspan\u003eAn exceptional original 1971 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLed Zeppelin’s first two performances in Japan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, held at Tokyo’s Nippon Budokan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e23 and 24 September 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—the opening concerts of the band’s historic debut Japanese tour.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKyodo Tokyo’s Rock Carnival No. 7\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this extraordinary design places a monumental orange airship across a deep-blue field, surrounded by yellow-edged clouds and stark monochrome portraits. Bold, three-dimensional red lettering announces the band’s name in both English and Japanese, creating a composition of remarkable graphic confidence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts historical significance is unusually precise. This is not simply a poster from an early tour: it advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe band’s first Japanese concert itself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with the following day’s performance, several weeks before the release of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLed Zeppelin IV\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Audiences at these concerts heard “Black Dog,” “Stairway to Heaven” and “Going to California” before their appearance on the forthcoming album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the sheet represents a compelling holy-grail combination: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapanese debut performances, Nippon Budokan, the original band at a defining moment, distinctive Japanese-market artwork and contemporary pre-concert advertising\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked and unrestored in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains exceptionally strong colour and its broad lower margin. It is a substantial surviving document of one of the landmark encounters between British rock and Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; First Japanese Tour\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eLed Zeppelin made their Japanese concert debut at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Budokan, Tokyo, on 23 September 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster advertises the opening two performances with their original scheduled admission and start times:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThursday, 23 September 1971 — Nippon Budokan\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eDoors open at 5:30 p.m.; performance scheduled for 6:30 p.m.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFriday, 24 September 1971 — Nippon Budokan\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eDoors open at 1 p.m.; performance scheduled for 2 p.m.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe second appearance was therefore advertised as an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eafternoon concert\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, an important detail preserved directly on the sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese performances opened a five-concert itinerary that continued to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHiroshima on 27 September\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsaka Festival Hall on 28 and 29 September\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe English production credit is prominently retained beneath the upper title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA KYODO TOKYO PRESENTATION 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbove it, the Japanese heading identifies the event’s place within the promoter’s concert series:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #7\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 7”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe printed dates, ticket categories, venue and advance-sales announcement establish the poster’s original purpose: advertising the forthcoming concerts to Japanese audiences, rather than commemorating them retrospectively.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Concerts \u0026amp; Their Place in Led Zeppelin’s Legacy\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe September 1971 Japanese tour occupies a particularly important position in Led Zeppelin’s performing history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir fourth, untitled album—universally known as \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eLed Zeppelin IV\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e—would not be released until \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e8 November 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The Budokan concerts therefore captured the band at the threshold of that landmark release, when several compositions that would become central to their legacy were still unfamiliar to much of the audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth Tokyo programmes included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Black Dog,” “Stairway to Heaven” and “Going to California.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Their appearance here was not a worldwide live debut, but it gave Japanese audiences the opportunity to encounter this material in performance before the album’s commercial release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe concerts also demonstrated the breadth of the band’s live approach. The force of “Immigrant Song” and “Heartbreaker” sat alongside the extended improvisation of “Dazed and Confused,” the acoustic character of “That’s the Way,” and the expansive medley built around “Whole Lotta Love.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJapanese eyewitness accounts describe the impact of this combination: powerful amplification, unfamiliar new material, acoustic passages and performances that developed well beyond their recorded arrangements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster belongs to that precise moment. Its importance lies not only in the band’s subsequent stature, but in its direct connection to the first occasion on which Japanese audiences experienced Led Zeppelin in concert.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eKyodo Tokyo, Rock Carnival \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRock Carnival\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e designation places the poster within an important chapter of international concert promotion in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKyodo Tokyo’s presentation is supported on the sheet by a detailed network of broadcasting, recording and publishing credits. Under the organisers’ heading appear \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Broadcasting System, Tokyo Channel 12 and Warner Bros.–Pioneer\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, accompanied by the Atlantic Records emblem.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe supporting publications are equally evocative of the period: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHeibon Punch, an an, New Music Magazine and Music Life\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details give the poster considerable documentary interest. They situate Led Zeppelin’s arrival within the Japanese media culture through which international rock reached its audience, preserving more than the name of a visiting band and a pair of concert dates.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe campaign also translates the band’s visual identity into a strongly Japanese composition. The airship provides the central image, but the substantial katakana lettering, precisely arranged concert information and prominent local credits make this a fully developed Japanese promotional design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs a collectible, its distinction rests on the convergence of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eevent, place, date and image\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e: the opening performances of the first Japanese tour, presented at Budokan through an exceptionally memorable piece of period graphic design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe monumental orange airship:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e an elongated dirigible traverses the sheet diagonally, its black structural lines providing movement and definition against the blue background. Rather than serving as a small emblem, the airship determines the entire composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExceptional early-1970s colour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e saturated blue, bright yellow, orange, red, black and the natural paper ground create a strikingly balanced palette. The contrast between the orange airship and blue field gives the poster considerable presence at a distance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCloud-framed portraits:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e four high-contrast monochrome portraits appear within the surrounding cloud formations. Their photographic character contrasts with the simplified geometry and flat colour of the airship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensional English and Japanese lettering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the upper \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLED ZEPPELIN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e title and lower Japanese band name share bold red faces and white dimensional extensions. This repetition gives the composition a strong visual structure while allowing both languages equal prominence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eConcert details integrated into the artwork:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the dates and times occupy a large white cloud at the lower right, rather than an unrelated information box. Functional advertising is absorbed into the visual language of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal admission categories:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the printed ticket prices—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eS ¥2,700, A ¥2,300, B ¥2,000 and C ¥1,500\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—remain clearly legible, preserving a small but tangible detail of the original concert experience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod production and media credits:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the Kyodo Tokyo imprint, Atlantic emblem, broadcasting credits and magazine endorsements anchor the design firmly to its Japanese promotional campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe broad lower margin:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the surviving unprinted area beneath the composition gives the sheet additional visual space and remains an important feature of the example offered.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #7\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 7”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eレッド ツェッペリン 特別公演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Led Zeppelin — Special Concerts”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e9\/23（木） 5:30 P.M.開場 6:30 P.M.開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Thursday, 23 September — doors open at 5:30 p.m.; performance begins at 6:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e9\/24（祭） 1:00 P.M.開場 2:00 P.M.開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“24 September, marked as a holiday — doors open at 1 p.m.; performance begins at 2 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e武道館大ホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Budokan Main Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e都内各プレイガイドで絶賛前売中！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Advance tickets now on sale at ticket agencies throughout Tokyo!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催　ニッポン放送／東京12チャンネル／ワーナーブラザース・パイオニア\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Broadcasting System \/ Tokyo Channel 12 \/ Warner Bros.–Pioneer”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後援　平凡パンチ／アンアン／ニューミュージック・マガジン／ミュージック・ライフ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting publications: Heibon Punch \/ an an \/ New Music Magazine \/ Music Life”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age and format — unbacked.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn exceptionally attractive original 1971 Japanese concert poster, retaining strong colour, crisp graphic definition and excellent overall presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePaper and handling:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e light handling creases and gentle surface undulations are present, most noticeably within the broad lower margin and towards the edges. There are minor edge and corner imperfections consistent with the age and handling of the sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePrinted surface:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e small, localised surface marks and fine scuffs are visible on close inspection, including narrow marks through portions of the upper red lettering. These are discreet in relation to the scale and visual strength of the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the blue background, orange airship, yellow cloud borders and red typography remain particularly vivid. The principal image retains excellent contrast and substantial display impact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidering its age, historical importance and scarcity, this is a particularly appealing surviving example. The combination of strong colour, bold composition and direct association with Led Zeppelin’s Japanese debut gives it exceptional presence as a framed object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front and reverse imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57554761580922,"sku":null,"price":14455.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1204_22_36PM_a6586a3e-b05a-4c6c-a479-cbeec7856478.jpg?v=1794475539"},{"product_id":"elton-john-エルトン-ジョン-original-japanese-first-tour-concert-poster-1971-tokyo-debut-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery","title":"“Elton John” (エルトン・ジョン), Original Japanese First-Tour Concert Poster 1971, Tokyo Debut, Ultra Rare Holy Grail, B2 Size (approx. 51.5 × 72.8 cm \/ 51 × 73 cm) - Gallery","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptional original 1971 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eElton John’s first Japanese tour\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including his historic debut performance at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShibuya Public Hall, Tokyo, on 5 October 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKyodo Tokyo’s Rock Carnival No. 8\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this striking design is dominated by an oversized photographic portrait rendered in orange-gold against a rich green field. Bright yellow panels carry distinctive blue English and Japanese lettering, while the concert schedule and original ticket prices are integrated into the upper-left corner.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts historical significance is particularly precise. The poster advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe first Japanese concert itself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with three further Tokyo performances, during the early touring-trio period with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDee Murray and Nigel Olsson\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The visit took place shortly before the release of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMadman Across the Water\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, capturing an important stage in the development of Elton John’s international career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe complete lower panel provides a second, closely related collecting distinction: an advertisement for \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eA Very Special Collection\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, the Japanese compilation promoted to commemorate the visit. The original release announcement, catalogue number, record price and DJM branding remain present.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, this is a compelling holy-grail combination: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe Japanese debut, the formative trio era, an outstanding Japan-specific graphic composition, Kyodo Tokyo’s Rock Carnival series and a complete contemporary concert-and-record campaign on one sheet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked and unrestored in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains exceptionally strong colour and considerable visual presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; First Japanese Tour\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eElton John made his Japanese concert debut at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShibuya Public Hall on Tuesday, 5 October 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster advertises four Tokyo performances, preserving their original scheduled starting times:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTuesday, 5 October 1971 — Shibuya Public Hall\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eWednesday, 6 October 1971 — Shibuya Public Hall\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSunday, 10 October 1971 — Shinjuku Kōsei Nenkin Hall\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e2 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonday, 11 October 1971 — Shinjuku Kōsei Nenkin Hall\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe two venues are identified on the sheet as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e渋谷公会堂\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Shibuya Public Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e新宿厚生年金ホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Shinjuku Kōsei Nenkin Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Sunday performance was advertised as an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eafternoon concert\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than an evening engagement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster’s significance therefore extends beyond a general association with the first tour. It names the opening performance and documents the Tokyo engagements through their original dates, venues, times and admission categories.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe enduring importance of that first date was recognised in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e2024\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, when \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e5 October was registered as “Elton John Day” by the Japan Anniversary Association\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, specifically commemorating the Japanese debut of 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Concerts \u0026amp; Their Place in Elton John’s Legacy\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe October 1971 visit belongs to the formative period in which Elton John’s piano-led songwriting and live performances were establishing an international audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe self-titled \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eElton John\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e album and \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eTumbleweed Connection\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e had already appeared, while the live album \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003e17-11-70\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e had demonstrated the energy of his compact touring ensemble. The Japanese performances preceded the November 1971 release of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eMadman Across the Water\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis places the poster at a particularly compelling point in the chronology: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eafter the emergence of the early repertoire, but before the succession of albums and large-scale tours that would define his later superstar years\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe visiting ensemble consisted of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eElton John on piano and vocals, Dee Murray on bass and Nigel Olsson on drums\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It was the same three-musician configuration heard on \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e17-11-70\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, the live recording made in New York the previous November.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical appeal lies partly in that scale. These were concert-hall appearances by the early trio, rather than a later stadium production. The poster documents the introduction of that live act to Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lower record advertisement also preserves the language through which Elton was being presented at the time:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eシンガー＝ソング・ライター・エイジをリードするロックの吟遊詩人\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The rock troubadour leading the singer-songwriter age”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis contemporary description is particularly evocative. Rather than invoking the retrospective language of a greatest-hits career, it presents an artist associated with the developing singer-songwriter movement and the possibilities of a new musical decade.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs an original object, the poster belongs to that moment of introduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eKyodo Tokyo, Rock Carnival \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe sheet carries the English production credit:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA KYODO TOKYO PRESENTATION 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts Japanese event heading identifies the concerts as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #8\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 8”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis places the poster within Kyodo Tokyo’s numbered concert series of 1971, immediately following the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRock Carnival No. 7\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e designation used for Led Zeppelin’s first Japanese performances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe campaign is supported by a detailed network of Japanese broadcasting, publishing and recording credits. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Broadcasting System and Tokyo Channel 12\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appear as organisers, while \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eToshiba Musical Industries\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is credited as a sponsor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe supporting publications are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHeibon Punch, an an, New Music Magazine and Music Life\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese credits contribute to the sheet’s documentary value. They situate the concerts within the Japanese media environment through which overseas musicians were introduced to local audiences, preserving the relationship between live performance, music journalism, broadcasting and record promotion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original admission categories are also retained:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA — ¥2,500\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eB — ¥2,000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eC — ¥1,500\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe numbered series, precise concert information, promoter imprint and record-company participation make this a distinctly Japanese promotional object—not simply an international artist photograph with local text added.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cem\u003e\u003cspan\u003eA Very Special Collection\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e — The Japanese Tour-Commemorative Release\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe complete white panel across the foot of the poster advertises \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eA Very Special Collection\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, titled in Japanese:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eスペシャル・コレクション\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Special Collection”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapanese-only compilation issued in 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than the later internationally familiar \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreatest Hits\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisement explicitly identifies its connection with the visit:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e来日記念盤　9月25日発売\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Japan-visit commemorative release — on sale 25 September”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe announced release date preceded the opening Tokyo concert, making the panel a direct record of the campaign surrounding the tour.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe printed specifications identify \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecatalogue FP‑80329\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e30 cm stereo LP\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, priced at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e¥2,000\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The accompanying DJM emblem and Toshiba credit firmly establish the Japanese record-company context.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisement highlights \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Your Song,” “Just Like Strange Rain” and “Skyline Pigeon”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, announcing a total of ten tracks. Its promotional description reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e待望のベスト・アルバム\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The eagerly awaited best-of album”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe inclusion of this complete panel is an important feature of the example offered. It links the forthcoming performances with the repertoire being presented to Japanese record buyers and preserves the original commercial identity of the sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of early Elton John material, the poster therefore has a dual interest: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efirst-tour concert advertising and a contemporary Japanese recording campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA monumental portrait composition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the photographic image occupies almost the entire sheet, with hair, sunglasses, clothing and facial contours reduced to broad, interlocking shapes. The portrait is treated as graphic form rather than a conventional publicity photograph.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAn unusually effective palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e deep green and orange-gold dominate the image, while lemon-yellow information panels and blue lettering provide sharp contrast. The white record-advertising strip establishes a clean visual boundary at the foot of the sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePop-inflected photographic treatment:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the strong separation of colour and shadow gives the composition a distinctly early-1970s character. Fine photographic detail is subordinated to shape, scale and colour, producing substantial impact at a distance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDistinctive English typography:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the upper-left \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eELTON JOHN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e lettering uses elongated, rounded geometric forms. Its narrow proportions allow the artist’s name to remain prominent without competing with the expansive portrait.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA complementary Japanese title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the broad blue katakana lettering sits within a yellow band across the lower image. Its rounded forms provide a strong counterpart to the English title while anchoring the composition horizontally.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eConcert information integrated into the design:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the dates, venues, starting times and ticket categories occupy a stepped yellow panel. The arrangement remains compact and legible while allowing the portrait to dominate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Rock Carnival identity:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the series number appears immediately above the Japanese name, linking the sheet to its specific concert presentation without interrupting the image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe complete recording advertisement:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the white-and-blue lower panel introduces a second typographic scale and retains the Japanese album title, commemorative-release wording, catalogue details and DJM emblem.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA substantial decorative presence:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the limited palette, oversized image and purposeful typography give the poster an appeal that extends beyond music memorabilia into the collecting of Japanese graphic design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #8\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 8”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eエルトン・ジョン 特別公演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Elton John — Special Concerts”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e10\/5（火）渋谷公会堂 6:30 P.M. 開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tuesday, 5 October — Shibuya Public Hall; performance begins at 6:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e10\/6（水）渋谷公会堂 6:30 P.M. 開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Wednesday, 6 October — Shibuya Public Hall; performance begins at 6:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e10\/10（日）新宿厚生年金ホール 2:00 P.M. 開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sunday, 10 October — Shinjuku Kōsei Nenkin Hall; performance begins at 2 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e10\/11（月）新宿厚生年金ホール 6:30 P.M. 開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Monday, 11 October — Shinjuku Kōsei Nenkin Hall; performance begins at 6:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eお問い合わせはキョードー東京\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“For enquiries, contact Kyodo Tokyo”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催／ニッポン放送／東京12チャンネル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Broadcasting System \/ Tokyo Channel 12”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後援／平凡パンチ／アンアン／ニュー・ミュージック・マガジン／ミュージック・ライフ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting publications: Heibon Punch \/ an an \/ New Music Magazine \/ Music Life”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協賛／東芝音楽工業\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sponsor: Toshiba Musical Industries”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eシンガー＝ソング・ライター・エイジをリードするロックの吟遊詩人\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The rock troubadour leading the singer-songwriter age”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eエルトン・ジョン　待望のベスト・アルバム　スペシャル・コレクション\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Elton John — the eagerly awaited best-of album, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSpecial Collection\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e来日記念盤　9月25日発売\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Japan-visit commemorative release — on sale 25 September”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e僕の歌は君の歌／ストレンジ・レイン／スカイライン・ピジョン／他全10曲\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“‘Your Song’ \/ ‘Just Like Strange Rain’ \/ ‘Skyline Pigeon’ \/ and others — ten tracks in total”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e30cmステレオ　¥2,000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“30 cm stereo LP — ¥2,000”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e東芝のDJMレコード\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“DJM Records from Toshiba”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age and format — unbacked.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn exceptionally attractive original 1971 Japanese concert poster, retaining vivid colour, clear typography and a particularly strong overall presentation.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidering its age, historical significance and striking graphic quality, this is a particularly appealing surviving example. The combination of the Japanese debut, the early trio period and the complete tour-linked record advertisement gives the poster substantial interest beyond its outstanding visual presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front and reverse imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57554828263802,"sku":null,"price":4498.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1204_07_13PM_ab303e52-b8cb-46b6-b928-21725bf2a11d.jpg?v=1794476431"},{"product_id":"grand-funk-railroad-グランド-ファンク-レイルロード-original-japanese-first-tour-concert-poster-1971-legendary-korakuen-stadium-performance-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery","title":"“Grand Funk Railroad” (グランド・ファンク・レイルロード), Original Japanese First-Tour Concert Poster 1971, Legendary Kōrakuen Stadium Performance, Ultra Rare Holy Grail, B2 Size (approx. 51.5 × 72.8 cm \/ 51 × 73 cm) - Gallery","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptional original 1971 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGrand Funk Railroad’s celebrated Kōrakuen Stadium concert on 17 July 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—the opening performance of their first Japanese tour and an enduring landmark in Japan’s early international rock-concert history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKyodo Tokyo’s Rock Carnival No. 6\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this extraordinary design combines a dense black ground with brilliant pink, acid green, orange and yellow. A monumental, colour-separated performance image dominates the lower composition, while three monochrome portraits appear beneath a star-patterned arch at the upper left.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical significance is unusually compelling. The advertised concert became the famous \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003estorm-hit Kōrakuen performance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, remembered for torrential rain, lightning, fierce wind and the intensity of the band’s appearance before an audience that remained through the disruption. The original notice \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Rain or shine”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, printed beside the venue, acquires particular resonance in light of the evening’s events.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe complete lower panel advertises \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eSurvival\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, retaining the Japanese release announcement, Capitol branding, original catalogue number and record price. The sheet therefore documents both a defining concert and the contemporary Japanese recording campaign surrounding the visit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, this is a compelling holy-grail combination: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe first Japanese tour, a historically celebrated stadium concert, the original power-trio era, striking psychedelic graphics and a complete concert-and-album campaign on one sheet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked and unrestored in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains vivid colour, strong graphic definition and considerable display presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; First Japanese Tour\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe poster advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSaturday, 17 July 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKōrakuen Stadium, Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with admission and starting times clearly distinguished:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDoors open at 5 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePerformance scheduled for 6 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe venue is identified prominently as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後楽園球場\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Kōrakuen Stadium”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis Tokyo appearance opened Grand Funk Railroad’s first Japanese tour, followed by a concert at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsaka Stadium on 18 July 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sheet preserves the original admission categories:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA — ¥2,300\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eB — ¥1,700\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eC — ¥1,000\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside the concert details appears a particularly evocative declaration:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e雨天決行\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rain or shine”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese are the original advertised arrangements. The printed 6 p.m. time refers to the scheduled opening of the concert programme, rather than the actual moment Grand Funk Railroad took the stage after the weather-related disruption.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise date, named stadium, ticket prices, supporting bill and advance-sales information identify this as an original announcement for the forthcoming event—not a later commemorative design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Storm at Kōrakuen \u0026amp; Its Place in Japanese Rock History\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe Kōrakuen concert became one of the most vividly remembered overseas-rock performances of its period in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs the evening progressed, violent weather swept across the open-air stadium. Eyewitness accounts recall lightning, torrential rain and wind strong enough to dislodge lettering from the stage frontage. Grand Funk Railroad’s appearance was delayed, but the audience remained, and the concert ultimately proceeded.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe encounter between the storm and the band’s forceful performance became central to the event’s reputation. Recollections describe the impact of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Are You Ready,” the audience response to “Heartbreaker,” and the concluding “Inside Looking Out.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The evening was remembered not simply as a successful engagement, but as an overwhelming introduction to the physical scale and intensity of the band’s live sound.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eContemporary photographs preserve the extraordinary conditions, including rain around the stage and equipment protected beneath coverings. They give tangible substance to the concert’s enduring place in Japanese rock history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe printed \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Rain or shine”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e notice is therefore more than routine logistical wording. It is a direct, contemporary detail connecting the advance advertisement with the circumstances that made the performance famous.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor the collector, the distinction is important: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethis is the original promotional object for the event before it acquired its legendary status\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Its significance comes from the convergence of an identifiable concert, a documented historical moment and an exceptionally memorable design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Original Trio \u0026amp; the Advertised Supporting Bill\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe visit belongs to Grand Funk Railroad’s original three-piece period: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMark Farner on guitar and vocals, Mel Schacher on bass, and Don Brewer on drums and vocals\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy this point, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eOn Time\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGrand Funk\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eCloser to Home\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLive Album\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e had established the group’s early repertoire and live identity. The Japanese tour brought that concentrated, guitar-led ensemble to local audiences at the height of its early momentum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster’s emphasis on physical performance is entirely appropriate to this period. Rather than presenting a restrained publicity portrait alone, the composition is dominated by movement, instruments and an expansive concert image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertised supporting acts are preserved beneath the English band name:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e共演バンド＝マッシュマッカーン\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting band: Mashmakhan”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e麻生レミ＆WYND\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Remi Aso \u0026amp; WYND”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe inclusion of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMashmakhan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e gives the sheet an additional connection to Canadian rock history. Their recording of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“As the Years Go By”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e had enjoyed substantial success in Japan, making their appearance a meaningful part of the bill rather than an incidental support credit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRemi Aso \u0026amp; WYND\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e wording records the lineup as advertised. Visa difficulties prevented WYND’s musicians from appearing, and Aso ultimately performed with a replacement group. The printed credit is thus a valuable record of the original promotional arrangements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, these details broaden the poster’s documentary interest beyond the headliner, preserving the international and Japanese participants assembled for the event.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eKyodo Tokyo, Rock Carnival \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe English production imprint appears within the lower image:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA KYODO TOKYO PRESENTATION 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the upper right, the decorative English heading identifies the event as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eROCK CARNIVAL #6\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe corresponding Japanese wording forms the arch around the upper portraits:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e大ロックカーニバル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Grand Rock Carnival”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe numbered designation places the poster within Kyodo Tokyo’s important sequence of international presentations in 1971. It precedes the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRock Carnival No. 7\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e campaign for Led Zeppelin and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 8\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for Elton John, connecting the sheet with a wider season of significant first visits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original Japanese credits name \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Broadcasting System and Tokyo Channel 12\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as organisers. Supporting publications include \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHeibon Punch, an an, Music Life and New Music Magazine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eToshiba Musical Industries and CBS\/Sony Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appear as sponsors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details provide a precise picture of the campaign’s local identity. Broadcasting, music publishing, concert promotion and record companies are represented together, illustrating how international rock was being presented to Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination of Japanese headlines, English display lettering, detailed local credits and a contemporary record advertisement makes this a fully developed Japanese-market design, rather than a generic band poster adapted with a date strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cem\u003e\u003cspan\u003eSurvival\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e — The Contemporary Japanese Record Campaign\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe complete panel across the foot of the sheet advertises \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eSurvival\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, Grand Funk Railroad’s fourth studio album, released in 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts Japanese title is presented in large, rough-edged lettering:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eサバイバル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Survival”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe surrounding wording explicitly links the release to the forthcoming visit:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eG.F.R待望の来日記念最新盤\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“GFR’s eagerly awaited latest album, commemorating their visit to Japan”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe panel announces:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e5月5日発売！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“On sale 5 May!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original Japanese specifications remain present: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecatalogue CP‑80255\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e30 cm stereo LP\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, priced at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e¥2,000\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eseven tracks\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe album combined original material with interpretations of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Feelin’ Alright”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Gimme Shelter,”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e placing it firmly within the band’s early blues-derived hard-rock period. Its presence here ties the concert directly to the recordings being promoted to Japanese buyers at the time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Capitol emblem and Toshiba wording complete the campaign identity:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e東芝のキャピトルレコード\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Capitol Records from Toshiba”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis lower panel is an integral part of the poster’s appeal. It preserves the relationship between the live event and the Japanese record release, while the May announcement and July concert date situate the sheet within the original promotional campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAn exceptional psychedelic palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e brilliant pink and acid green dominate the performance image, with yellow highlights and orange typography set against a deep black field. The contrast produces an unusually forceful composition with substantial impact at a distance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA monumental performance image:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the lower section transforms photographic material into broad, sharply separated areas of colour. Raised instruments, sweeping hair and the geometry of the drum kit convey movement and volume without relying on conventional photographic realism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe star-patterned portrait arch:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e three stark monochrome portraits occupy the upper-left corner beneath a green arch filled with small white stars. Pink accents introduce the palette of the larger image below, linking the two sections visually.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eContrasting English display lettering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the outlined orange \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGRAND FUNK RAILROAD\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e name uses substantial slab-serif forms, while the green \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eROCK CARNIVAL #6\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e heading employs decorative, curling letter shapes. The contrasting treatments give the upper composition both weight and period character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCommanding Japanese typography:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the orange band name, special-appearance wording and stadium name are balanced by oversized white date and time information. The poster remains an effective advertisement even at a distance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBlack space used to dramatic effect:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the broad dark area between the event details and the performance image allows the bright colours to register with particular intensity. It also gives the densely printed upper section room to breathe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA crowd-like monochrome texture:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the black-and-white photographic texture behind the lower figures adds scale and atmosphere, contrasting with the simplified pink and green forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eComplete album advertising:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the black-and-white \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSurvival\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e panel remains across the lower edge, preserving the release date, Capitol identity and original record specifications without interrupting the overall visual language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAdvance advertising with retrospective resonance:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the design was created to announce the forthcoming performance. Its extraordinary energy now appears especially appropriate to the event’s subsequent reputation, but the imagery should be understood as part of the original campaign rather than a photographic record of the storm itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e大ロックカーニバル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Grand Rock Carnival”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eグランドファンク 特別出演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Grand Funk — Special Appearance”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e7\/17（土）開演 6:00 P.M.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Saturday, 17 July — performance begins at 6 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e5:00 P.M.開場\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Doors open at 5 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後楽園球場\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Kōrakuen Stadium”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e雨天決行\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rain or shine”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e都内各プレイガイド絶賛発売中!!\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tickets now on sale at ticket agencies throughout Tokyo!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eお問合せは＝キョードー東京（407）8157\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“For enquiries: Kyodo Tokyo, (407) 8157”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e共演バンド＝マッシュマッカーン／麻生レミ＆WYND\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting acts: Mashmakhan \/ Remi Aso \u0026amp; WYND”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催＝ニッポン放送／東京12チャンネル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Broadcasting System \/ Tokyo Channel 12”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後援＝平凡パンチ／アンアン／ミュージック・ライフ／ニューミュージック・マガジン\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting publications: Heibon Punch \/ an an \/ Music Life \/ New Music Magazine”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協賛＝東芝音楽工業／CBS・ソニーレコード\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sponsors: Toshiba Musical Industries \/ CBS\/Sony Records”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック史上最大の話題を集めて グランド・ファンク・レイルロード7月来日決定！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Amid the greatest excitement in rock history, Grand Funk Railroad’s July visit to Japan is confirmed!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eG.F.R待望の来日記念最新盤\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“GFR’s eagerly awaited latest album, commemorating their visit to Japan”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eG.F.R サバイバル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“GFR — \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSurvival\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e5月5日発売！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“On sale 5 May!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e東芝のキャピトルレコード\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Capitol Records from Toshiba”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age and format — unbacked.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA highly attractive original 1971 Japanese concert poster, retaining vivid colour, clear typography and strong overall presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the pink and green retain exceptional intensity, while the orange lettering and yellow highlights remain bright and clearly differentiated. The black background provides strong contrast throughout the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidering its age, historical significance and graphic quality, this is a particularly appealing surviving example. Its association with the celebrated Kōrakuen concert, together with the strength of the original colour scheme and complete Japanese campaign information, gives it exceptional interest as both a music collectible and a framed design object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front and reverse imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57554874761594,"sku":null,"price":2670.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1204_13_44PM.jpg?v=1794476951"},{"product_id":"grand-funk-railroad-グランド-ファンク-レイルロード-original-japanese-first-tour-concert-poster-1971-legendary-korakuen-stadium-performance-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery-copy","title":"“Chicago” (シカゴ), Original Japanese First-Tour Concert Poster 1971, Nippon Budokan Tokyo Debut, Ultra Rare, B2 Size (approx. 51.5 × 72.8 cm \/ 51 × 73 cm) - Gallery","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptional original 1971 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago’s first Tokyo concert\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, held at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Budokan on 16 June 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, during the band’s historic first Japanese tour.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKyodo Tokyo’s Rock Carnival No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this striking design combines a monumental, star-filled Chicago logo with symmetrical red stripes, bold Japanese lettering and seven star-shaped photographic panels against a saturated blue field. The composition transforms the American flag into a coherent visual identity for the band’s arrival in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts historical significance is particularly precise. The poster belongs to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago’s original seven-member era\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTerry Kath, Peter Cetera, Robert Lamm, Lee Loughnane, James Pankow, Walter Parazaider and Danny Seraphine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, at a time when the group’s adventurous combination of rock, jazz, extended composition and brass arrangements was establishing an international audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe concert followed the release of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e and the band’s celebrated April 1971 Carnegie Hall engagement. It documents an early, expansive phase of their performing history—before the later albums and personnel changes that would reshape their identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the sheet brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe first Japanese tour, the Tokyo debut, Nippon Budokan, the original lineup, distinctive stars-and-stripes graphics and the complete Rock Carnival campaign information\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked and restored in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains strong colour, clear typography and its broad lower paper margin. It is a substantial surviving document of Chicago’s first encounter with Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; First Japanese Tour\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe poster advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWednesday, 16 June 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Budokan, Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the original admission and performance times clearly distinguished:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDoors open at 5:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePerformance scheduled for 6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe venue is identified as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e日本武道館大ホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Nippon Budokan Main Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago’s Tokyo debut and the sole Tokyo engagement of their first Japanese tour\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe visit began with performances at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsaka Festival Hall on 13 and 14 June\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, followed by the Budokan concert on 16 June. The distinction is important: this poster advertises the band’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efirst appearance in Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than their first performance anywhere in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original admission categories remain clearly legible:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eS — ¥3,000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eA — ¥2,500\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eB — ¥2,100\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eC — ¥1,600\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advance-sales announcement appears beside the concert details:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e都内プレイガイドで絶賛発売中\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tickets now on sale at ticket agencies throughout Tokyo”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe named venue, exact date, admission times, ticket categories and sales notice preserve the poster’s original function as advertising for the forthcoming performance. This is a contemporary concert announcement, not a retrospective commemorative design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Original Seven \u0026amp; Chicago’s Early Legacy\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe 1971 Japanese visit belongs to the original seven-member configuration that established Chicago’s distinctive musical identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTerry Kath, Peter Cetera and Robert Lamm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e provided guitar, bass and keyboards respectively, together with three contrasting lead voices. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLee Loughnane, James Pankow and Walter Parazaider\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e supplied trumpet, trombone and woodwinds, while \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDanny Seraphine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e provided the drums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination was fundamental to the band’s sound. The horns were not simply an ornamental addition to a conventional rock group: they were integrated into its arrangements, instrumental exchanges and extended compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy the time of the Japanese tour, Chicago had released three consecutive double albums: \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago Transit Authority\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e in 1969, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e—subsequently known as \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eChicago II\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e—in 1970, and \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e in January 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese records established a broad musical vocabulary, ranging from compact songs to multi-part suites, sustained instrumental passages and music shaped by jazz, blues and rock. The early catalogue already included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Beginnings,” “Does Anybody Really Know What Time It Is?,” “Make Me Smile” and “25 or 6 to 4,”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e alongside more exploratory material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the presence of the original lineup is a substantial distinction. The poster belongs to the period in which \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKath’s guitar, the three-piece horn section, the contrasting vocalists and the rhythm section’s flexibility\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e were central to Chicago’s live identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe design reflects that collective character. Seven separate photographic panels and the accompanying English personnel credits present the ensemble as a group of individual musicians, rather than subordinating the band to a single featured performer.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Carnegie Hall \u0026amp; the 1971 Concert Season\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eReleased on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e11 January 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e was the band’s third double album in less than two years. It included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Free” and “Lowdown”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with extended sequences such as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Travel Suite”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Elegy.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Budokan appearance therefore belongs to the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e period, when the band’s concise songs coexisted with ambitious, multi-section compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust over two months before the Tokyo concert, Chicago had performed \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eeight shows at Carnegie Hall between 5 and 10 April 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Those performances were recorded, with selections subsequently issued as \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago at Carnegie Hall\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e later that year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe proximity gives the Japanese poster a particularly useful historical context. It documents the same original ensemble, in the same concert season, as one of the defining live recordings of early Chicago.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stars-and-stripes imagery also has a visual relationship with the period. \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e used a tattered American flag as its cover concept; this Japanese concert poster develops a distinct, cleaner arrangement of red bars, white stars and the blue Chicago logo. It is not a reproduction of the album sleeve, but the shared motif situates it naturally within the band’s contemporary visual identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster should also be distinguished from material associated with \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eLive in Japan\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e. That album was recorded at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsaka Festival Hall during the following year’s visit in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The present sheet belongs to the earlier, inaugural tour and the band’s first Budokan appearance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts significance lies in that original introduction: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago arriving in Tokyo with the early repertoire and original lineup, before the Japanese relationship documented by the subsequent live album had fully developed\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eKyodo Tokyo, Rock Carnival \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe production credit appears at the lower left of the printed image:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA KYODO TOKYO PRESENTATION 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the top, the Japanese heading identifies the concert as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #5\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 5”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe numbered designation places the sheet within Kyodo Tokyo’s important sequence of international presentations in 1971. It precedes the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 6\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e campaign for Grand Funk Railroad, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 7\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for Led Zeppelin and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 8\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for Elton John.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis series connection gives the poster an additional collecting dimension. It is both a significant Chicago object and part of a coherent group of Japanese concert graphics documenting a remarkable season of international touring.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original credits name \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Broadcasting System and Tokyo Channel 12\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as organisers. Supporting publications are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHeibon Punch, New Music Magazine and Music Life\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details preserve the Japanese media context surrounding the performance, linking concert promotion with broadcasting and the music press.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eParticularly evocative is the diagonal promotional wording within the blue field:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eアメリカで人気沸騰……話題のニューロックが爆発する！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“A sensation in America… the much-talked-about new rock explodes!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe phrase captures the language through which Chicago was being introduced to Japanese audiences. It presents the band as a contemporary musical phenomenon, with the excitement of something newly arriving, rather than through the retrospective language of an established greatest-hits career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster’s documentary value therefore extends beyond its date and venue. It preserves \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehow the group was presented, which organisations supported the concert, and the promotional language used to communicate its significance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA monumental star-filled logo:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the large blue Chicago script dominates the upper composition, with white stars distributed through its sweeping letterforms. The treatment turns the band name into the principal image while retaining its distinctive calligraphic character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA unified stars-and-stripes composition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e repeated red horizontal bars flank the logo, while the blue lower field continues the American-flag palette. The motif is developed across the entire sheet rather than confined to a small decorative device.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSeven star-shaped photographic panels:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the individual portraits are arranged at different angles across the lower section. Their repeated shape connects them visually with the stars inside the logo, creating continuity between the band’s identity and its members.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal English personnel credits:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the musicians’ names follow curved and angled paths around the photographic panels. Their placement introduces movement into an otherwise strongly structured composition and reinforces the seven-member character of the ensemble.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental Japanese lettering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the large black Japanese band name occupies the centre of the upper section, balanced by the smaller special-concert wording. Its solid forms contrast effectively with the flowing blue logo above.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eElegant date and time typography:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the oversized numerals announcing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e16 June\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with the fine-lined concert times, give the central information band unusual clarity and refinement. Functional advertising becomes an integral part of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA restrained but powerful palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e red, blue, black and the warm paper ground create a composition of considerable graphic economy. The monochrome photographs provide tonal detail without weakening the overall colour structure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe diagonal promotional slogan:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the short Japanese declaration about the arrival of “new rock” cuts through the blue field, adding an energetic accent between the photographic panels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod production credits retained:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the Kyodo Tokyo imprint and Japanese broadcasting and publishing credits remain legible, anchoring the image to its original local campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe broad lower margin:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the surviving unprinted paper beneath the composition provides a clear finish to the sheet and remains an important feature of the example offered.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #5\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 5”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eシカゴ 特別公演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Chicago — Special Concert”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e6月16日（水）\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Wednesday, 16 June”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e6:30 P.M.開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Performance begins at 6:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e5:30 P.M.開場\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Doors open at 5:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e日本武道館大ホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Nippon Budokan Main Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e都内プレイガイドで絶賛発売中\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tickets now on sale at ticket agencies throughout Tokyo”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eアメリカで人気沸騰……話題のニューロックが爆発する！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“A sensation in America… the much-talked-about new rock explodes!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催＝ニッポン放送／東京12チャンネル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Broadcasting System \/ Tokyo Channel 12”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後援＝平凡パンチ／ニューミュージック・マガジン／ミュージック・ライフ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting publications: Heibon Punch \/ New Music Magazine \/ Music Life”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eお問合せ＝キョードー東京 407-8157\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“For enquiries: Kyodo Tokyo, 407-8157”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age and format — unbacked.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn exceptionally attractive original 1971 Japanese concert poster, retaining strong colour, clear photographic detail and crisp typography throughout the principal composition.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the blue field and logo retain excellent depth, while the red stripes remain bright and well balanced. The black lettering provides strong contrast against the lightly toned paper ground.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidering its age, rarity and direct association with Chicago’s Tokyo debut, this is a particularly appealing surviving example. The combination of the original lineup, the first Japanese tour and the coherent stars-and-stripes composition gives it substantial interest as both a music collectible and a piece of early-1970s Japanese graphic design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front and reverse imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57554898223482,"sku":null,"price":1430.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1204_37_18PM.jpg?v=1794477634"},{"product_id":"the-police-ザ-ポリス-original-japanese-first-tour-concert-poster-1980-tokyo-debut-ultra-rare-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery","title":"“The Police” (ザ・ポリス), Original Japanese First-Tour Concert Poster 1980, Tokyo Debut, Ultra Rare, B2 Size (approx. 51.5 × 72.8 cm \/ 51 × 73 cm) - Gallery","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eA striking original 1980 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eThe Police’s first Japanese tour\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including their debut performance at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNakano Sun Plaza, Tokyo, on 14 February 1980\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eUdo Artists’ Rockupation ’80 presentation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this bold Japanese design combines a large colour group photograph with sharply angled yellow panels, emphatic Japanese headlines and the English band name in red. The complete lower advertising strip retains the contemporary \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaxwell Blendy “Keep Your Smile” campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, adding a distinctive Japanese commercial context to the concert announcement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts historical significance is particularly precise. The poster advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe opening three concerts of the inaugural Japanese visit\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, during the breakthrough \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eReggatta de Blanc\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e period, when the band’s combination of rhythmic invention, concise songwriting and energetic live performance was establishing an international audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe performances belong to the early touring history of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSting, Andy Summers and Stewart Copeland\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, before the release of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eZenyatta Mondatta\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e later in 1980 and several years before the global success of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSynchronicity\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the sheet brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe Japanese debut, the opening Tokyo engagements, the classic trio, the first two albums’ era, distinctive Japanese promotional copy and the complete original sponsor panel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains strong colour and considerable display presence. Pinholes and minor corner tears from previous display have been supported on the reverse with archival tape, preserving the original sheet while documenting its history of use.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; First Japanese Tour\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe Police made their Japanese concert debut at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNakano Sun Plaza on Thursday, 14 February 1980\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster advertises the first three performances of the visit, all in Tokyo:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThursday, 14 February 1980 — Nakano Sun Plaza\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFriday, 15 February 1980 — Nakano Sun Plaza\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSunday, 17 February 1980 — Shibuya Public Hall\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe venues are identified on the sheet as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eサンプラザホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sun Plaza Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e渋谷公会堂\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Shibuya Public Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFollowing these Tokyo appearances, the six-concert tour continued to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNagoya on 18 February, Osaka on 19 February and Kyoto on 20 February\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe distinction is important: this is not merely a poster associated with an early visit. It advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe first Japanese performance itself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with the two Tokyo concerts that immediately followed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original admission categories are preserved beneath the concert details:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eS — ¥3,000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eA — ¥2,700\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eB — ¥2,000\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise dates, named venues, starting times, ticket prices and advance-sales information identify the sheet as contemporary advertising for the forthcoming concerts, rather than a later commemorative design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Trio \u0026amp; The Police’s Early Legacy\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe February 1980 visit belongs to a formative period in The Police’s international career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir debut album, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eOutlandos d’Amour\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, had appeared in 1978, introducing a repertoire that included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Roxanne,” “Can’t Stand Losing You” and “So Lonely.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Its successor, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eReggatta de Blanc\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, followed in 1979 and became the band’s first UK number-one album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe second record also produced their first two UK chart-topping singles, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Message in a Bottle” and “Walking on the Moon.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e By the time of the Japanese tour, the band had therefore moved beyond its initial emergence without yet reaching the later stadium-era scale associated with \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSynchronicity\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe musical identity rested on the interaction of three distinctive players: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSting’s bass and lead vocals, Andy Summers’ guitar and Stewart Copeland’s drums\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than relying on a densely layered ensemble, the group developed a sound in which rhythmic space, sharply defined guitar figures, bass movement and intricate percussion were central. Punk energy, reggae-derived rhythms and melodic songwriting became elements of a recognisable style.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese campaign captures that confidence in its prominent headline:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eこのトリオに敵はなし!!\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“This trio has no rivals!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wording is more than a generic endorsement. It makes the three-person configuration itself a selling point, presenting the band’s compactness as a source of strength.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, this is a significant distinction: the poster documents \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe early trio arriving in Japan with the repertoire and musical identity established by its first two albums\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than a later retrospective presentation of an already completed career.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cem\u003e\u003cspan\u003eReggatta de Blanc\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u0026amp; the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAround the World\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e Period\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe advertised concerts took place during the international touring period associated with \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eReggatta de Blanc\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReleased in October 1979, the album consolidated the band’s sound through songs such as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Message in a Bottle,” “Walking on the Moon,” “Bring on the Night” and “The Bed’s Too Big Without You.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The Japanese visit followed only a few months later.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis chronology gives the poster a particularly clear place within the band’s development. The concerts preceded \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eZenyatta Mondatta\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, released later in 1980, and belong to the period when the live act was carrying the early repertoire to audiences across an increasingly wide international circuit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThose travels became the subject of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eThe Police: Around the World\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, which combined concert footage with scenes of the musicians visiting and exploring countries including Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe documentary’s Japanese material gives the first visit an enduring visual record. Later releases also preserved performances from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKyoto\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the final engagement of the same six-concert itinerary that opened with the Tokyo dates advertised here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present sheet is therefore connected to a well-documented chapter of the band’s history: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe first Japanese encounters within the broader journey that established The Police as an international live act\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts value as a historical object lies in its specificity. Where the documentary records the journey, the poster preserves the original invitation to the opening Tokyo concerts—the venues, times, prices and promotional language through which the performances were offered to Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eUdo Artists, Rockupation ’80 \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe English production credit runs along the angled upper border of the photograph:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAN UDO ARTISTS, INC. PRESENTATION 1980\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeside it appears the campaign designation:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eROCKUPATION ’80 第3弾\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rockupation ’80 — Third Instalment”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the presentation’s place within Udo’s promotional series, rather than a reference to a third Japanese visit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese credits identify \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Cultural Broadcasting and Udo Artists\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as organisers, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAlfa Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e providing cooperation and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaxwell Blendy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appearing as sponsor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details anchor the poster firmly to its local campaign. The combination of a concert promoter, broadcaster, record company and consumer sponsor preserves the commercial framework surrounding the band’s Japanese introduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe blue promotional wording beneath the main title reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e戦慄のポリス・ビートが新時代の幕明けを告げる！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The electrifying Police beat heralds the dawn of a new era!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts emphasis is unmistakably forward-looking. The campaign presents the group as the sound of a new musical moment, rather than drawing on the retrospective prestige of later achievements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese headline, English production credit, local ticket information and sponsor advertisement make this a fully developed Japanese concert design—not simply a publicity photograph accompanied by a small date panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eMaxwell Blendy \u0026amp; the Complete Sponsor Panel\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe white strip across the foot of the poster retains the original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaxwell Blendy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e advertising panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts principal English slogan is:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKeep Your Smile\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeneath it, the Japanese copy reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eコーヒーも役者の小道具なんだ。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Coffee, too, is an actor’s prop.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe monochrome advertising image, coffee jar, cup and bold Blendy branding create a distinct visual register beneath the yellow concert information. At the right, a separate \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSoundMate\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e panel invites applications for its 1980 membership programme.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sponsor’s participation is also recorded in the main concert credits:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協賛　マックスウェル・ブレンディ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sponsor: Maxwell Blendy”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis complete strip is an important feature of the example offered. It preserves the poster as it was conceived for the Japanese campaign, with concert promotion and contemporary consumer advertising presented together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe contrast is particularly evocative: an internationally emerging rock trio is advertised above a distinctly local combination of coffee branding, Japanese copy and a music-related membership notice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of Japanese concert ephemera, these details provide additional documentary interest. They preserve the surrounding visual and commercial culture of the event, rather than reducing the object to the band photograph alone.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA commanding photographic centre:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the large colour group photograph occupies most of the sheet. Its dark architectural background provides depth, while the closely grouped figures give the composition immediacy and a compact visual focus.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSharply angled yellow panels:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the upper headline area and lower concert-information band cut across the photograph on diagonals. Their geometry creates movement while keeping the essential advertising information highly legible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA bold Japanese title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the large black katakana lettering, outlined in red, dominates the yellow upper field. Its scale and weight establish the band name before the viewer reaches the photographic image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eContrasting English branding:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the stacked red \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTHE POLICE\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e lettering at the lower left of the photograph provides a second point of recognition. Its narrow, vertical arrangement contrasts with the broad Japanese title above.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLightning-like graphic accents:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e pointed yellow forms extend into the dark photographic area, reinforcing the sense of rhythm and energy suggested by the promotional wording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAn effective early-1980s palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e yellow, black and red provide the principal graphic structure, with blue used for the upper promotional text and production credit. The colour photograph introduces more natural tones without weakening the design’s high contrast.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eConcert information given visual prominence:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the dates and Japanese venue names are set in substantial black lettering across the lower yellow panel. The original starting times and ticket categories remain integrated into the same area.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe complete lower advertisement:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the white sponsor strip establishes a clear finish to the sheet, contrasting with the dark photograph and saturated yellow fields above. Its retention preserves the full original campaign layout.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA distinctive Japanese presentation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e emphatic local slogans, the Rockupation designation, Japanese venue information and the Maxwell Blendy panel give the poster a specificity absent from a generic band photograph or later decorative reprint.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eザ・ポリス\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The Police”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eこのトリオに敵はなし!!\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“This trio has no rivals!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e戦慄のポリス・ビートが新時代の幕明けを告げる！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The electrifying Police beat heralds the dawn of a new era!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eROCKUPATION ’80 第3弾\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rockupation ’80 — Third Instalment”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e2月14日（木）・15日（金）サンプラザホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Thursday, 14 February, and Friday, 15 February — Sun Plaza Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e2月17日（日）渋谷公会堂\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sunday, 17 February — Shibuya Public Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催　文化放送／ウドー音楽事務所\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Cultural Broadcasting \/ Udo Artists”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協力　アルファ・レコード\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“With the cooperation of Alfa Records”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協賛　マックスウェル・ブレンディ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sponsor: Maxwell Blendy”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e各プレイガイド及びウドー音楽事務所にて絶賛発売中！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tickets now on sale at ticket agencies and through Udo Artists!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eコーヒーも役者の小道具なんだ。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Coffee, too, is an actor’s prop.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e’80年度会員募集中\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Applications now open for 1980 membership”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent for its age and format — unbacked, with localised archival-tape repairs on the reverse.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn attractive original 1980 Japanese concert poster, retaining strong colour, clear photographic detail and the complete lower sponsor advertisement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePrevious display:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e pinholes and minor tears are present at the corners and adjoining edges from earlier display. The affected areas have been supported on the reverse with archival tape. These localised repairs are disclosed as part of the poster’s condition and are visible in the detailed photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the yellow panels retain strong saturation, while the red lettering and blue promotional text remain well differentiated. The central photograph preserves good tonal detail and a strong overall appearance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLower sponsor panel:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the complete Maxwell Blendy advertisement remains present, including the “Keep Your Smile” slogan, product branding and SoundMate notice. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eVerso:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the reverse displays the localised archival-tape repairs. The reverse and corner-detail photographs document these features of the actual sheet offered.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster’s display history is visible, but its colour, complete composition and clear association with The Police’s Japanese debut remain particularly appealing. It is a substantial early-tour collectible with strong graphic presence and unusually detailed Japanese campaign information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front, reverse and corner imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57554985517434,"sku":null,"price":1475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1203_56_12PM.jpg?v=1794478163"},{"product_id":"elton-john-エルトン-ジョン-original-japanese-first-tour-concert-poster-1971-tokyo-debut-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-l226","title":"“The Babys” (ザ・ベイビーズ), Original Japanese Concert Poster 1978, John Waite Era, Rare Tokyo Concert Campaign, B2 Size (approx. 51.5 × 72.8 cm) - L226","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eA striking original 1978 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eThe Babys’ scheduled Tokyo performances at Shibuya Public Hall and Nakano Sun Plaza on 21–23 September 1978\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eUdo Artists’ Rockupation ’78 series\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this distinctive design combines an elaborately styled colour group photograph with monumental cream-and-red Japanese lettering, bright yellow promotional copy and a blue-and-pink concert-information panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster belongs to the band’s early \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJohn Waite era\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, following the breakthrough of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eBroken Heart\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Isn’t It Time.”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Its Japanese publicity presents The Babys as new heirs to the British rock tradition, preserving the sense of expectation surrounding an emerging international act.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertised programme is unusually detailed: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efour performances across three dates\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including separate afternoon and evening engagements on 23 September. The original venues, starting times, ticket categories, promoter credits and record-company support remain clearly legible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe complete lower strip retains a contemporary \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaxwell Blendy iced-coffee advertisement\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, adding a distinctive Japanese commercial context and preserving the poster’s full original campaign layout.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the sheet brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eearly Babys material, the John Waite period, emphatic Japanese typography, theatrical late-1970s styling and a precisely dated Tokyo concert announcement\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains strong colour, clear photographic detail and substantial display presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; Advertised Tokyo Concerts\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe poster announces four performances at two Tokyo venues:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThursday, 21 September 1978 — Shibuya Public Hall\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFriday, 22 September 1978 — Nakano Sun Plaza\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003ePerformance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSaturday, 23 September 1978 — Nakano Sun Plaza\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eAfternoon performance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e2 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eEvening performance scheduled for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e6 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe venues are identified on the sheet as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e渋谷公会堂\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Shibuya Public Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eサンプラザホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sun Plaza Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe final date therefore represents \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo separately advertised performances\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than a single concert. The afternoon and evening times are explicitly distinguished within the information panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original admission categories are preserved beneath the schedule:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eS — ¥3,000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eA — ¥2,800\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eB — ¥2,500\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eC — ¥1,800\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details establish the sheet’s purpose as contemporary advertising for the announced engagements. The programme reproduced here is the schedule printed on the original poster; the sheet is offered as an original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1978 concert-announcement poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than as confirmation that every advertised performance took place.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts documentary interest lies in this specificity. It preserves the arrangements presented to Japanese ticket buyers, including the two-show Saturday programme, rather than depicting the band through an undated publicity image.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Babys \u0026amp; Their Early British Rock Identity\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe Babys emerged during the mid-1970s with a sound combining guitar-led rock, prominent keyboards, melodic songwriting and the distinctive lead vocals of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJohn Waite\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original recording quartet comprised \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWaite on vocals and bass, Wally Stocker on guitar, Michael Corby on keyboards and guitar, and Tony Brock on drums\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir music balanced forceful instrumental playing with carefully shaped songs. That combination gave the band an identity encompassing both assertive rock material and more restrained, emotionally direct performances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe self-titled \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eThe Babys\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e appeared in 1976, followed by \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eBroken Heart\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e in 1977. The latter album, produced by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRon Nevison\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Isn’t It Time,”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e which reached \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 13 in the United States\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Silver Dreams.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster belongs to the subsequent period of international promotion, when the band’s British origins and developing commercial reputation were central to its presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese campaign makes that positioning explicit:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e栄光のブリティッシュ・ロックの伝統を受けついだ新たなヒーロー、ついに登場！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“New heroes inheriting the glorious tradition of British rock—at last, they arrive!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is particularly evocative as contemporary publicity. The wording presents The Babys as a developing group associated with the promise of a new generation, rather than through the retrospective language of an established career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster preserves that moment of expectation in both its copy and its theatrical visual presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cem\u003e\u003cspan\u003eBroken Heart\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u0026amp; the John Waite Connection\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe 1978 campaign follows the commercial breakthrough of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eBroken Heart\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e and falls within the year of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eHead First\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, the band’s third album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis places the sheet within an important early phase of The Babys’ recording history, before the later careers of its musicians became the principal frame through which the group was remembered.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Waite’s subsequent achievements give the poster an additional collecting dimension. His work with The Babys preceded the international success of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Missing You” in 1984\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, as well as his later role as lead vocalist of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBad English\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBad English reunited Waite with former Babys members \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJonathan Cain and Ricky Phillips\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, alongside \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNeal Schon and Deen Castronovo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The connection places early Babys material within a wider history of melodic rock extending into the following decade.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present sheet, however, is most compelling as an object from The Babys’ own contemporary campaign. It presents the band through its original image, promotional language and announced performances—not through the later fame of any individual member.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a John Waite collector, it represents a significant pre-solo chapter. For a collector of Japanese rock posters, it offers an unusually complete combination of band imagery, local concert information and period commercial advertising.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eUdo Artists, Rockupation ’78 \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe English production credit appears across the upper edge:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAN UDO ARTISTS, INC. PRESENTATION 1978\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeside it is the campaign designation:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eROCKUPATION ’78 第12弾\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rockupation ’78 — Twelfth Instalment”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wording identifies the presentation within the promoter’s numbered campaign. It is not a reference to a twelfth Japanese visit by the band.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese credits name \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Cultural Broadcasting and Udo Artists\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as organisers, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eToshiba EMI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as a supporting organisation, and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaxwell Blendy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as sponsor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe concert panel also retains separate enquiry information for the broadcaster’s concert department and Udo Artists. The advance-sales announcement directs prospective buyers to ticket agencies and the promoter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details give the poster a precise local identity. Broadcasting, concert promotion, record-company support and consumer advertising are represented together within the original design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe visual hierarchy is equally deliberate. The large Japanese band name occupies the top of the sheet, while the English name anchors the lower-left corner. Practical information is concentrated within a brightly framed panel rather than scattered across the photograph.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe result is a fully developed Japanese concert-advertising composition—not simply an international publicity photograph accompanied by translated dates.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eMaxwell Blendy \u0026amp; the Complete Sponsor Advertisement\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe white strip across the foot of the poster retains the original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMaxwell Blendy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e advertisement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts principal Japanese headline reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eこの夏、氷の惑星。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“This summer, a planet of ice.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe smaller copy develops the same imagery:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eただいま、北半球に接近中。\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e冷たく香る、サンシャインブラウンの一杯。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Now approaching the Northern Hemisphere.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA chilled, fragrant cup of sunshine brown.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisement combines a monochrome photograph, an isolated ice-like form, a glass of iced coffee and the branded product jar. Large black lettering supplies a strong visual contrast with the colourful concert campaign above.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the right, the accompanying copy declares:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e諸君、アイスコーヒーは冷たさだけではない。うまさだ。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Iced coffee is not just about being cold—it is about flavour.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sponsor is also credited within the concert-information panel:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協賛　マックスウェル・ブレンディ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sponsor: Maxwell Blendy”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe retention of this complete strip is an important feature of the example offered. It preserves the relationship between the concert announcement and its commercial sponsor, while adding a second, distinctly Japanese advertising composition to the sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors interested in the broader visual culture of music promotion, the panel contributes more than a brand name. Its product imagery, typography and summer-themed copy preserve the commercial setting in which the band’s Tokyo campaign appeared.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental Japanese lettering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the enormous cream-faced title, with its deep red dimensional shadow, dominates the upper composition. Its rounded forms provide immediate impact while establishing a distinctly Japanese identity for the campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAn elaborately styled studio composition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e patterned fabrics, scarves, jewellery, flared trousers and geometric tailoring are arranged against a dark blue background and reflective metallic surface. The photograph conveys the theatrical character of late-1970s rock promotion without relying on a live-performance image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA carefully balanced group arrangement:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e standing and leaning figures form an upper framework around a seated foreground figure. The differing heights and poses create depth while accommodating the large title and concert-information panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBright yellow promotional copy:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the statement positioning the band within the British rock tradition crosses the upper photographic field. Its colour separates it clearly from both the dark background and the red-and-cream title.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDistinctive English branding:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the substantial \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTHE BABYS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e lettering at the lower left uses blue faces and yellow dimensional shadows. It echoes the treatment of the Japanese title while introducing a complementary colour combination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe pink-and-blue concert panel:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e a rounded yellow border encloses the dates, venues and admission details. Oversized pink numerals make the three advertised dates immediately legible, while the two performances on 23 September are separately identified.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA rich but controlled palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e cream, red, yellow, blue and pink are balanced against the dark photographic field. The colour relationships give the poster energy without obscuring the hierarchy between title, image and practical information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod fashion as part of the image:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the contrasting patterns, textures and silhouettes make the photograph an expressive document of the campaign’s styling. Its appeal extends beyond a conventional band portrait.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe complete lower sponsor strip:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the monochrome Blendy advertisement provides a clear visual change beneath the saturated main composition. Its presence preserves the full original layout and adds a separate layer of advertising interest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal campaign information retained:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the Udo imprint, Rockupation designation, broadcaster and record-company credits, admission categories and enquiry details remain integral to the sheet.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eザ・ベイビーズ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“The Babys”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e栄光のブリティッシュ・ロックの伝統を受けついだ新たなヒーロー、ついに登場！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“New heroes inheriting the glorious tradition of British rock—at last, they arrive!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eROCKUPATION ’78 第12弾\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rockupation ’78 — Twelfth Instalment”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e9月21日（木）渋谷公会堂\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Thursday, 21 September — Shibuya Public Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e9月22日（金）サンプラザホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Friday, 22 September — Sun Plaza Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e9月23日（土）サンプラザホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Saturday, 23 September — Sun Plaza Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e昼の部　2:00 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Afternoon performance — 2 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e夜の部　6:00 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Evening performance — 6 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催　文化放送／ウドー音楽事務所\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Cultural Broadcasting \/ Udo Artists”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後援　東芝EMI\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“With the support of Toshiba EMI”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e協賛　マックスウェル・ブレンディ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Sponsor: Maxwell Blendy”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e各プレイガイド及びウドー音楽事務所にて絶賛前売中！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Advance tickets now on sale at ticket agencies and through Udo Artists!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eこの夏、氷の惑星。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“This summer, a planet of ice.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e諸君、アイスコーヒーは冷たさだけではない。うまさだ。\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Iced coffee is not just about being cold—it is about flavour.”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age and format — unbacked.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn attractive original 1978 Japanese concert poster, retaining strong colour, clear photographic detail and the complete original sponsor advertisement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePaper and handling:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e light handling creases and gentle surface undulations are present across the sheet. Broad horizontal rippling is more apparent under angled light and in the reverse photograph than in the principal front view.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the red title shadows, blue background, yellow accents and pink concert details retain strong saturation and clear separation. The photograph preserves good tonal depth and detail in the clothing and studio setting.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidering its age, rarity and distinctive Japanese presentation, this is a particularly appealing surviving example. The combination of early Babys history, bold period typography, detailed Tokyo concert advertising and the complete sponsor panel gives it substantial interest as both a music collectible and a framed design object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front and reverse imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57562134577530,"sku":null,"price":578.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1204_31_09PM.jpg?v=1794621394"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/collections\/Scanfrom2026-11-1204_22_36PM_a6586a3e-b05a-4c6c-a479-cbeec7856478.jpg?v=1794628266","url":"https:\/\/japanposter.co.uk\/collections\/original-japanese-concert-posters.oembed","provider":"Japan Poster Shop","version":"1.0","type":"link"}