{"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","url":"https:\/\/japanposter.co.uk\/products\/elton-john-%e3%82%a8%e3%83%ab%e3%83%88%e3%83%b3-%e3%82%b8%e3%83%a7%e3%83%b3-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","provider":"Japan Poster Shop","version":"1.0","type":"link"}