{"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","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-l226","provider":"Japan Poster Shop","version":"1.0","type":"link"}