Bob Dylan / Hammersmith Odeon 1990 5th Night / 2CD

Bob Dylan / Hammersmith Odeon 1990 5th Night / 2CD / Zion

Translated Text:
Live at Hammersmith Odeon, London, UK 7th February 1990

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As for the February 6th of Hammersmith Odeon continuous performance in 1990, half of the show was released at “CRITIC’S CHOICE VOL. 1 & 2”, but for the 7th day released at the same time, “1990 LONDON / PARIS ANTHOLOGY “The majority of the show was stored in a set called” the show. The main part of this CD set was still the standard 8th day, but it was the 7th that many songs were recorded next to it. It was an incomplete version in the form that the songs that were dubbed were cut off on the 8th, after receiving the alarm of the alas editorial policy, whatever it was supposed to be recorded in the complete as well. It is unfortunate that there were only items that were incompletely handled, such as items that would ruin the opportunities that the show other than the 8th day was released to completion in the first place.
But this time, as soon as 6th, we will be able to listen to the complete 7th show as a limited press CD release will be realized. Considering that Hammersmith was the days of mass production for only that 90 years, I can not help being frustrated by the treatment of inconvenience in “1990 LONDON ~” even more sooner. Such long-aged stress of maniacs finally resolved. Also recorded again by the same taper as the 6th, the release at the Audience Master which had never been circulated among traders altogether!
Also on this day too, Audience recording of good sound quality was circulating around, and it was spreading among maniacs (hereinafter referred to as a preexisting sound source). It was a preeminent stereo recording as well as other days, but still there was a sense of distance in the sound image. To tell the truth, it was the recording on the 8th that boasted the most balanced sound image among the existing sound sources that had been circulating in the past, not only the contents of the fulfilling completion of the final day, but also the closeness of the sound image to the 8th It was the only factor that was released.
The sound source of this time is clearly a balance in which the sound image is on more than the preexisting sound source and it can be called a superb sound source that can be enjoyed just like the sixth release at the same time. Also on this day also the sound will be slightly broken from around “Just Like A Woman”, but even with the already released sound source that I touched earlier, this sound cracking is larger and smaller, so we can see the sound of the venue of the day It is speculated that it is the result of up. As a matter of course I adjusted this problem just like the 6th. As a result, it is quite easy to hear. And more than anything, listening to the sound source that was already circulating among traders, there is no doubt that the sound source of this time sounds very fresh to familiar maniacs.

On the eighth day that was the century ‘s prestigious performance on the next day, as a bonus event Continuous performances As a last sport, I thought that this day I’d keep my strength … Dylan and the band are still in perfect condition. As usual, at the end of the show, it exploded the great act of playing “All Along The Watchtower” which was often played by encore in the beginning of the show. Dylan will continue to sing with each other’s show without any restrictions really, it will be the charm of the early 1990 stage such as Hammersmith, Paris, and Toze Place. Besides, “I’ll Be Your Baby Tonight” continued, so it is a rare development that it will be performed in a row from the album “JOHN WESLEY HARDING” (two most famous songs on the same album).
As the opening “To Be Alone With You” symbolizes, the acoustic set which is thoroughly sung from the first half which ran through the pressed mood more than the previous day is also a luxurious “The Times They Are A-Changin ‘ The beginning. In addition, Dylan has a surprisingly straightforward way of singing in the same song at this time, and the performance which made the atmosphere of the original music drift is very moving. There were multiple sound recordings of this day that existed so that the sound would be broken as soon as possible from this song, but this time there was not such a thing and this straightforward nomination without stress You will be able to taste thoroughly.

On the previous day “Dark As A Dungeon” which can be called the remnant of the rolling · sunder review was unusually performed, but “Tonight I’ll Be Staying Here With You” has been restored for a long time on this day. This was also a live performance since the rolling sander review. And I’ve never heard of GE · Smith ‘s guitar play full of flashing throughout the show. If you think that you played a country-style phrase in “I’ll Be Your Baby Tonight” earlier, the late literary Heavy Blues “It Takes A Lot To Laugh, It Takes A Train To Cry” literally introduces a bluesy phrase Kimeta roll. There is no waste at all in how to play the key points held by any song. This is a glimpse of the craftsmen guitarist.
On the contrary, Dylan never plays a lead guitar like the late 90s stage, but it is not necessarily playing chords musically, and in some places switch to the high position code and give an accent to the performance It is this time that we are doing. It was Dylan’s guitar that GE became Chakachaka behind playing the lead, and this sound balance was also characteristic of that time.
It is certainly clear, but on the other hand, thanks to the more on-sounding image, thanks to the sound image that was more likely to be blurred with a deep sound image, thanks to the more sound-like image, the strange of such band ensemble is steadily transmitted. It is the best that Dylan singing with a high tension is also captured in real time more than that. This fury is the legendary Hammersmith Days 1990. A press release CD item on February 7, which had been waiting for a complete release with the previous day, will use the original sound source and will finally appear at the limited release!

1990年ハマースミス・オデオン連続公演の2月6日に関しては「CRITIC’S CHOICE VOL. 1&2」でショーの半分がリリースされていたものですが、今回同時にリリースされる7日に関しては「1990 LONDON / PARIS ANTHOLOGY」というセットにショーの大半が収められていました。このCDセットのメインはやはり定番の8日だったのですが、それに次いで多くの曲が収録されていたのが7日でした。どうせならばこちらもコンプリートに収録すればよかったものを、悲しいかな編集方針の煽りを受けて8日とダブる曲がカットされる形での不完全版となっていたのです。そのあまりにも中途半端な扱い、初めて8日以外のショーがコンプリートにリリース出来た機会を台無しにさせてしまうようなアイテムしか存在しなかったのが残念でなりません。
しかし今回、6日と同時に限定のプレスCDリリースが実現することで遂に7日のショーがコンプリート聞けるようになったのです。90年ハマースミスがあれだけ名演量産の日々であったことを考えると、なおさら「1990 LONDON~」における不遇の扱いに苛立ちを覚えずにはいられません。そんなマニア長年のストレスも遂に解消。こちらもまた6日と同じテーパーによって録音され、今までトレーダー間にもまったく出回っていなかったオーディエンス・マスターでのリリース!
この日もまた以前から良好な音質のオーディエンス録音が出回っており、マニアの間に広まっていました(以下、既発音源と称します)。それは他の日と同様にクリアネス抜群のステレオ録音であった一方、やはり音像には距離感がありました。実を言うと従来出回っていた既発音源の中でもっとも音像がオンなバランスを誇ったのが8日の録音であり、最終日らしい充実の演奏内容だけでなく、その音像の近さも8日ばかりがリリースされる要因となっていたのです。
今回の音源は既発音源よりも明らかに音像がオンなバランスであり、同時リリースの6日と同じように楽しめる極上音源と呼べるでしょう。この日も「Just Like A Woman」辺りから微妙に音が割れてしまうのですが、先に触れた既発音源でもこの音割れが大なり小なり見受けられますので、やはり当日の会場の出音がアップした結果なのだと推測されます。当然ながらこの問題を6日と同様にアジャスト。結果としてかなり聞きやすい状態となっているのです。そして何よりもトレーダー間で出回っていた既発音源を聞き慣れたマニアには今回の音源が極めて新鮮に響くことは間違いありません。

世紀の名演となった8日を翌日に控え、おまけに連続公演ラストスパートということからこの日は力を温存気味…かと思いきや、ディランとバンドは相も変わらず絶好調。いつもならショーの終盤、それこそアンコールに演奏されることの多かった「All Along The Watchtower」をショー序盤に演奏してしまうという大技を炸裂。本当に何の制約もなく、それぞれのショーで気の赴くままにディランが歌い続けるのがハマースミスやパリ、そしてトーズ・プレイスといった1990年初頭ステージの魅力でしょう。おまけに「I’ll Be Your Baby Tonight」が続いたことから、奇しくもアルバム「JOHN WESLEY HARDING」から立て続けに演奏(同アルバムでもっとも有名な二曲ですが)されるという珍しい展開。
オープニングの「To Be Alone With You」が象徴するように、前日以上に押せ押せムードに駆け抜けた前半から、じっくり歌われるアコースティック・セットはこの日も「The Times They Are A-Changin’」という贅沢な幕開け。おまけにこの時期の同曲ではディランが驚くほど素直な歌い方をしており、原曲の雰囲気を漂わせた演奏が非常に感動的なのです。複数存在するこの日のオーディエンス録音の中には、この曲から早くも音が割れてしまうような音源も存在していたものですが、今回はそのようなことがなくストレスなしにこの素直な名演をじっくりと味わえることでしょう。

前日はローリング・サンダー・レビューの名残りと呼べる「Dark As A Dungeon」が珍しく演奏されていましたが、この日は「Tonight I’ll Be Staying Here With You」が久々に復活。これもまたローリング・サンダー・レビュー以来となるライブ演奏だったのです。そしてショー全体を通して閃きに溢れたGE・スミスのギター・プレーには思わず聞き惚れてしまうほど。先の「I’ll Be Your Baby Tonight」でカントリー調のフレーズを奏でたかと思えば、ショー終盤のヘビー・ブルース「It Takes A Lot To Laugh, It Takes A Train To Cry」では文字通りブルージーなフレーズをキメまくり。どの曲でもツボを押さえた弾き方はまったく無駄がない。これぞ職人ギタリストの面目躍如。
反対にディランは後の90年代ステージのようなリード・ギターを弾くことは一切なく、かといって大人しくコードを弾いている訳でもなく、所々でハイポジションのコードに切り替えて演奏にアクセントを付けようとしているのがこの時期ならでは。GEがリードを弾く後ろでチャカチャカとなっているのがディランのギターで、このサウンド・バランスも当時の特徴だったのです。
確かにクリアーだが、その反面奥まった音像で演奏がぼやけがちだった既発音源と比べ、よりオンな音像のおかげでそうしたバンド・アンサンブルの妙もしっかりと伝わってくる。それ以上にディランが終始テンション高めで歌う様子もリアルに捉えられているのが最高です。この激しさこそ伝説のハマースミス・デイズ1990。前日と共にコンプリートなリリースが待ち望まれていた2月7日のプレスCDアイテムが独自音源を使用した上、限定リリースにて遂に登場します!

 

Disc 1 (47:12)
1. Intro. 2. To Be Alone With You 3. Most Of The Time 4. All Along The Watchtower
5. I’ll Be Your Baby Tonight 6. John Brown 7. Political World
8. Stuck Inside Of Mobile With The Memphis Blues Again 9. The Times They Are A-Changin’
10. Mama, You Been On My Mind 11. It’s Alright, Ma (I’m Only Bleeding)

Disc 2 (52:11)
1. Girl From The North Country 2. Forever Young 3. Tonight I’ll Be Staying Here With You
4. Everything Is Broken 5. Just Like A Woman 6. It Takes A Lot To Laugh, It Takes A Train To Cry
7. Man In The Long Black Coat 8. Like A Rolling Stone 9. It Ain’t Me, Babe
10. Highway 61 Revisited

Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums)

ZION-127

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