Bob Dylan & Mick Taylor / Rome 1984 1st Night / 2CD

Bob Dylan & Mick Taylor / Rome 1984 1st Night / 2CD / Zion
Translated Text:
Roma Palaeur, Rome, Italy 19th June 1984 STEREO SBD



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Since I released the rehearsal sound source of the European tour in 1984 this time, I will not release the tour performance as well. Besides, since the rehearsal is sound board recording, I’d like to listen to the tour performance by soundboard recording as well. So far we have released “BRUSSELS AFFAIR” in the first half of the tour, Barcelona “THE BEST SHOW: BARCERONA 1984” which was a century ‘s masterpiece in the middle of the tour. Although both are audience recordings, both sound quality and content boasted a very high quality, so it has not only become a best seller, but also produced repercussions enough to re-evaluate the 84 years tour.
And this time finally stereo sound board recording appeared. Besides, the show was exquisite between Brussels and Barcelona. SBD sound source of Paraeul (now Paralot Matika) of Rome, June 19, which is released this time in limited press release CD. If there is Rome on that date then there should be a mania to come with Peen. Yes, Wanted Man in the past is “OH THE STREETS OF ROME”, and furthermore the label of Shamrock is the sound board recording that was released at “LIVE AT PALAEUR”.
In fact, the late-release “LIVE AT PALAEUR” was said to be the decision board of the Roman SBD against “OH THE STREETS ~” in which pitch misunderstanding was intense although it was actually complete recording. Actually currently still “LIVE AT PALAEUR” has been uploaded on the Guitars 101 site, and there are up to the crude items released on CD-R as a downloaded matter from there.
However, what’s the matter, the Shamrock board (henceforth referred to as the already released board) heard again this time is an unnatural texture with unexpectedly equalization feeling. It is inferred that it is actually the result of using the compressed sound source through the PC when it is released rather than equalization. It is a fact that you realize that it was somewhat childish enough to be compared to the present, such as sound source compression technology in the early 21st century when the pre-launch board was released. Also, the original board is not Dylan’s song, the cover ‘I’ve Got To Use My Imagination’ of Gradys Knight & The Pips that Greg Sutton sang was cut.
In this release, however, the pitch is accurate and the sound quality is suddenly recorded from a literal upper master who is warmy and natural. If you have a pre-launch board, I’d like you to compare it by all means. Because the version of this time is suddenly natural suddenly. Also the point that the pitch was close to exact was also a factor that received a high evaluation of the already-to-be-released board, but in fact the pitch misalignment occurred from the latter half of the live. Even in that respect, this time it will be a great advantage to be heard with exact pitch until the end.

Because the original is not a recording using multitrack but a stereo sound board recording of PA out, the dilution of reality feeling due to the low cheering level can not be done anyhow, and Taylor’s guitar songs Depending on the volume level going up and down depending on, it is unlikely that it is a habit peculiar to this kind of recording. However, the freshness of the top master this time is wonderful, but still it is transmitted enough that the Taylor’s play is on fire.
In the first place, this is the biggest listening point that I grasp the appearance of the band as she is going uphill in Barcelona this week after a week. When the leader Dylan is “Just Like A Woman” and the engine is fully opened, when singing while squeezing Akogi fiercely, the band is also fired and the fiercely intense performance is repeated. Although it is the first half of the live, such as two consecutive “I And I” and “License To Kill” from the “INFIDELS” which will be the first half of the live, it seems that it peaks as early as possible. “I’ve Got To Use My Imagination” Sutton sings as if to cool it He also made a lot of hard work for him and heard R & B style shouts, making it sound like a realistic soundboard recording Would you like me to reconfirm it?
Dylan’s exclusive playing part is no longer a wonder of stability, but the latter part of the live performance has remained as ever since the band returned. Although the point that balance is off is missed, still Taylor’s guitar explodes at “Masters Of War”. In addition, the sound of his guitar is pushed out excellently at the stones’ rough and rough arranging ‘Every Grain Of Sand’, and you can taste plenty of flowing Taylor clauses. I can not believe that the fact that such a unique 84-year tour’s performance was not included in the later official “REAL LIVE” has led to a low evaluation of the tour.

And from the encore’s “The Times They Are A-Changin ‘” Santana, who was showing off his stage before Dylan every night, will join the performance. Moreover, this time as a bonus track, recorded soundboard recording of Angkor part at the same place of the next day (the sound quality here is also wonderful!). This is not only the first appearance sound source but also the point that “Leopard-Skin Pill-Box Hat” which was not played the day before is heard on the sound board recording. In the encore on the 19th, although Santana saw a scene that gently removes the sound with “I Shall Be Released”, this song is sometimes referred to as the blues tone, and Santana also got caught up with the solo Demonstration. Not only that but also “The Times They ~” and his play is obviously clear on this day, it makes sense to compare such listening sound card recording that was good enough for clearance. 84 year tour SBD’s classic Roma was not released for the first time in a long time, not only for showing it for the first time in a long time, recording it with the best version as it is, as well as showing the first appearance of the bonus until the 20th SBD Contents. Finale’s “Blowin ‘In The WInd” is a tremendous excitement on both days! Ideal for calling this definitive version!

今回1984年ヨーロッパ・ツアーのリハーサル音源をリリースしてみせたからには、やはりツアー本番も一緒にリリースしない訳にはいきません。しかもリハーサルがサウンドボード録音なのだから、ツアー本番もサウンドボード録音で聞きたいものですよね。これまで当店はツアー前半の「BRUSSELS AFFAIR」、ツアーの中間地点で世紀の名演となったバルセロナ「THE BEST SHOW: BARCERONA 1984」をリリースしてきました。どちらもオーディエンス録音でありながら、音質と内容の両方が非常に高いクオリティを誇っていたことから、ベストセラーとなるだけでなく84年ツアーを再評価させるほどの反響を生み出してきました。
そして今回は遂にステレオ・サウンドボード録音が登場。しかも収められたショーはブリュッセルとバルセロナの間という絶妙な時期。それが限定のプレスCDリリースにて今回リリースされる6月19日のローマ、パラエウル(現パラロットマティカ)のSBD音源。その日付にローマとなればピーンと来るマニアがいるはず。そう、過去のウォンテッド・マンが「OH THE STREETS OF ROME」で、さらにはシャムロックなるレーベルが「LIVE AT PALAEUR」でリリースしていたサウンドボード録音なのです。
実は完全収録ながらもピッチの狂いが激しかった「OH THE STREETS~」に対し、後発リリースの「LIVE AT PALAEUR」がローマSBDの決定盤だと称されていました。実際に現在もGuitars 101サイトにおいて「LIVE AT PALAEUR」アップロードされており、そこからダウンロードした挙句にCD-Rでリリースした粗製アイテムまで存在する現状。
ところがどうでしょう、今回のリリースに当たって改めて聞いたシャムロック盤(以下、既発盤と称します)は意外なほどイコライズ感のある不自然な質感。実際にはイコライズというよりも、それがリリースされる際にパソコンを通して圧縮された音源を使用した結果だと推測されます。既発盤がリリースされた21世紀初頭の音源圧縮テクノロジーなど、現在とは比べ物にならないほど稚拙なものであったことが思い知らされる事実でしょう。また既発盤はディランの歌ではない、グレッグ・サットンが歌ったグラディス・ナイト&ザ・ピップスのカバー「I’ve Got To Use My Imagination」がカットされていたのです。

そもそもこの日は名演バルセロナを一週間後に控え、バンドが上り調子である様子を捉えている点が最大の聞きどころ。リーダーたるディランが「Just Like A Woman」でエンジン全開となり、アコギを激しくかき鳴らしながら歌ってみせると、バンドも煽られて一気に激しい演奏が連発となるのです。前半の締めくくりとなる「INFIDELS」からの「I And I」と「License To Kill」の二連発など、これがライブ前半だというのに、早くもピークを迎えてしまったのではと思えるほど。その熱を冷ますかのようにサットンが歌う「I’ve Got To Use My Imagination」も彼なりにかなり頑張ってR&Bスタイルのシャウトを聞かせてくれており、それをリアルに感じられるサウンドボード録音にて再確認してもらいたいところかと。
ディランの独壇場となる弾き語りパートはもはや安定の素晴らしさですが、バンドが戻ってからのライブ後半が相変わらずの好調ぶり。バランスがオフ気味な点が惜しまれますが、それでも「Masters Of War」ではテイラーのギターが炸裂。さらにストーンズちっくなラフでルーズなアレンジの「Every Grain Of Sand」では彼のギターの音もグッと押し出され、流麗なテイラー節がたっぷりと味わえます。こうした84年ツアーならではの演奏が後のオフィシャル「REAL LIVE」に収録されなかったことこそ、同ツアーの低評価へと結びついてしまったように思えてなりません。

そしてアンコールの「The Times They Are A-Changin’」からは毎晩ディランの前に自身のステージを披露していたサンタナが登場して演奏に加わります。しかも今回はボーナストラックとして、翌日の同所におけるアンコール・パートのサウンドボード録音も収録(こちらの音質も素晴らしい!)。こちらは初登場音源というだけでなく、前日には演奏されていなかった「Leopard-Skin Pill-Box Hat」がサウンドボード録音で聞けてしまうのがポイント。19日のアンコールでは「I Shall Be Released」で派手に音を外してしまう場面がみられたサンタナですが、この曲はブルース調ということもあり、サンタナもここぞとばかりにキレまくったソロを披露。それだけでなく「The Times They~」なども彼のプレイはこの日の方が明らかに冴えており、そんな聞き比べが出来てしまうのもクリアネスに長けたサウンドボード録音ならではのこと。84年ツアーSBDの定番だったローマ初日を久々にリリースしてみせただけには留まらず、当たり前のようにベスト・バージョンで収録してみせ、しかも初登場の20日SBDまでボーナス収録という充実の内容。フィナーレの「Blowin’ In The WInd」はどちらの日も凄まじい盛り上がりです!これぞ決定版と呼ぶに相応しい!
Disc 1 (76:30)
1. Highway 61 Revisited 2. Jokerman 3. All Along The Watchtower 4. Just Like A Woman
5. Maggie’s Farm 6. I And I 7. License To Kill
8. I’ve Got To Use My Imagination (sung by Greg Sutton) 9. A Hard Rain’s A-Gonna Fall
10. Tangled Up In Blue 11. It’s Alright, Ma (I’m Only Bleeding) 12. Simple Twist Of Fate
13. Masters Of War 14. Ballad Of A Thin Man

Disc 2 (72:57)
1. When You Gonna Wake Up 2. Every Grain Of Sand 3. Like A Rolling Stone
4. Mr. Tambourine Man 5. It Ain’t Me, Babe 6. The Times They Are A-Changin’ (with Carlos Santana)
7. I Shall Be Released (with Carlos Santana) 8. Tombstone Blues (with Carlos Santana)
9. Blowin’ In The Wind (with Carlos Santana)

Bonus Track
Roma Palaeur, Rome, Italy 20th June 1984

10. It Ain’t Me, Babe 11. The Times They Are A-Changin’ (with Carlos Santana)
12. Leopard-Skin Pill-Box Hat (with Carlos Santana) 13. Tombstone Blues (with Carlos Santana)
14. Blowin’ In The Wind (with Carlos Santana)


Bob Dylan (vocal & guitar) Mick Taylor (guitar) Ian McLagan (keyboards)
Greg Sutton (bass) Colin Allen (drums)


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