Bob Dylan / The Maine Event : Definitive Dat Master : Portland 1996 1st Night / 2CD

Bob Dylan / The Maine Event : Definitive Dat Master : Portland 1996 1st Night / 2CD / ZION

State Theater, Portland, Maine, USA 19th April 1996 TRULY PERFECT SOUND(UPGRADE)

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ボブ・ディラン1990年代における絶頂期の一つとして知られる1996の春から夏までライブ活動。その人気の秘訣は1993年にメンバーが固定されたバンドサウンドがこの時期に頂点を迎えたという事。中でもドラムのウインストン・ワトソンのハードなドラミングはこの時期の象徴と言え、彼が8月のアトランタでのビデオ収録ショー（結局リリースされず）を最後にバンドを抜けたことで絶頂期が終わりを迎えたのでした。
この時期、特に夏のヨーロッパツアーに関してはリアタイでも高音質アイテムが多く出され、それがまた早い時期からマニアの間での高評価を得るのに大きな役割を果たしたのですが、それ以前に行われたアメリカツアーからいち早く素晴らしさを伝えてくれたのが『THE MAINE EVENT』。当時ディラン専門レーベルとして名を馳せたRAZOR’S EDGEが末期にリリースした名作であったと同時に、舞台となったメイン州とメイン・イベントをひっかけたタイトルもまた好評を博した三枚組として好評を博したもの。
とはいえリリース当初こそ評価を得た一方でRAZOR’S EDGEが出したDATオーディエンス録音タイトルで大なり小なり見られたジレンマがここでも見受けられたのです。それは同レーベルが一度DATからカセットに落としたコピーを元にしていたせいで、DAT録音なのにヒスノイズが聞こえるというもの。もっとも当時はDATからDATへのデジタルコピーが普及しておらず、そもそもDATデッキを二台揃えなければいけないという手間と合わさって、代わりにカセットにコピーして広めてしまうという手段も決して珍しくなかった。

それ故のDAT録音なのにヒスノイズが聞こえる、あるいはアナログ・ダビングのレベル設定の際のミスなどが『THE MAINE EVENT』の元になったコピーに現れてしまっていたのです。何よりデジタル録音をカセット落とした段階で音質の劣化は免れられない。皮肉なことに同タイトルの元音源のデジタルコピーが広まったのはずっと後のこと…つまりテーパー自身のデジタルでのコピー環境が実現してからだったのです。
そんなアナログ劣化が一切ない純正デジタルコピーがアメリカの音源コレクターから届けられて実現するのが今回のリリース。
はっきり言って古の名盤とされた『THE MAINE EVENT』（以下“既発盤”と称します）とはまるで別次元な音質。ヒスノイズのない澄んだ状態は当たり前、締まった低域に伸びやかな高域はオリジナルDATマスターからのデジタルコピーならでは。カセット劣化コピーの既発盤との違いがあからさまなほど。それに会場の盛り上がりや演奏の迫力をリアルに伝えてくれるのが本録音の魅力だった訳ですが、それも既発盤とは段違いの再現力で迫ってくる。
オリジナルのDAT録音はこれほどまでに音が良かったのか…というあまりの音質の違いはマニアでなくとも唸らされるほど解りやすい違いがあるのです。これぞ「DEFINITIVE DAT MASTER」の名に相応しいアッパー感。おまけに今回のリリースでは音源と同時に提供された96年ツアーのレア・フォトをジャケにフィーチャー。

そして先に述べたように演奏内容では定評の高い時期ですが、4月に都合三回行われたメイン州ポートランドでのライブは96年のライブ活動の中でも序盤に属する時期。その中でも今回は初日を素晴らしい音質のDATマスター・バージョンにてリリースが実現する訳ですが、演奏がまた実に素晴らしい。
オープニングの「Drifter’s Escape」からしてバンドもディランも既にエンジン全開。特にバンドの演奏の冴えはワトソン在籍時ならではのもの。そんな盤石の演奏に支えられたディランも終始ハイテンションに歌っており、「This Wheel’s On Fire」や96年名物とも言える「Silvio」でバンドと共に激しい演奏を繰り広げている。正に典型的な96年ウインストン期の絶好調ステージが素晴らしい音質で記録されていたのです。
それどころかアコースティック・コーナーの「John Brown」でもハイテンションなディランの歌が炸裂しており、三夜連続公演の初日にしてこの飛ばしっぷり。これまたこの時期ならではの「Seven Days」や「Alabama Getaway」といったライブ終盤でも勢いがまったく衰えない。文字通りキレッキレな演奏を前に観客も大いに盛り上がっており、そのご機嫌な雰囲気も既発盤とは比べ物にならないほど絶妙なバランスで楽しめます。
そんな名演かつ名音源の誉れ高き『THE MAINE EVENT』から、まずは初日が文句なしのアッパー版＆限定プレスCDにてリリース。既発盤をお持ちの方だけでなく、これまでこの名演に触れられたことのないマニアも圧倒されること間違いなしの絶品オーディエンスが捉えてくれた96年の絶頂ディラン！

Bob Dylan performed live from spring to summer in 1996, which is known as one of the peak years of the 1990s. The secret to their popularity is that the band’s sound, whose members were fixed in 1993, reached its peak around this time. Among them, drummer Winston Watson’s hard drumming can be said to be a symbol of this period, and his peak period came to an end when he left the band after the video recording show in Atlanta in August (which was never released). It was.
During this period, especially during the summer European tour, many high-quality items were released even in real time, and this also played a big role in gaining high praise among enthusiasts from an early stage, but before that, “THE MAINE EVENT” was the first to convey the wonderfulness of the band’s American tour. It was a masterpiece released by RAZOR’S EDGE, which was famous as a Dylan specialty label at the time, in its final stages, and at the same time, the title, which refers to the main event and the state of Maine where it was set, was also well-received as a three-disc set. thing.
However, while it received praise at the time of its release, the same dilemma that was seen in the DAT audience recording title released by RAZOR’S EDGE was also seen here. That’s because the same label used a copy that was once transferred from DAT to cassette, so you can hear hiss even though it was a DAT recording. However, at that time, digital copying from DAT to DAT was not widespread, and combined with the hassle of having to have two DAT decks in the first place, it was not uncommon to copy to cassette instead. .

Therefore, the hiss noise could be heard even though it was a DAT recording, and mistakes made when setting the analog dubbing level appeared in the copy that became the basis for “THE MAINE EVENT”. Above all, when you drop a digital recording onto a cassette, the sound quality inevitably deteriorates. Ironically, the digital copy of the original sound source with the same title did not become widespread until much later…that is, after the taper’s own digital copy environment was realized.
This release is a genuine digital copy with no analog deterioration, delivered by an American sound source collector.
To put it bluntly, the sound quality is on a completely different level from “THE MAINE EVENT” (hereinafter referred to as the “already released version”), which was considered an old masterpiece. A clear state with no hiss is a given, and the tight low end and smooth high end are unique to a digital copy from the original DAT master. The difference from the already released version of the degraded cassette copy is so obvious. In addition, the appeal of this recording was that it realistically conveyed the excitement of the venue and the power of the performance, and it approaches with a reproducibility that is different from the previously released version.
Was the sound of the original DAT recording this good? The difference in sound quality is so easy to understand that even non-maniacs will be amazed. This is an upper that is worthy of the name “DEFINITIVE DAT MASTER”. In addition, this release features a rare photo from the 1996 tour that was provided along with the sound source on the jacket.

As mentioned earlier, this is a time when they have a good reputation for the content of their performances, but the live performances in Portland, Maine, which were held three times in April, were at the beginning of their live activities in 1996. Among them, this time the first day will be released in the DAT master version with wonderful sound quality, but the performance is also really wonderful.
From the opening song “Drifter’s Escape”, both the band and Dylan were already firing on all cylinders. In particular, the clarity of the band’s performance is unique to Watson’s time. Supported by such a rock-solid performance, Dylan sings with high tension from beginning to end, and performs intensely with the band on “This Wheel’s On Fire” and “Silvio,” which can be said to be a specialty of 1996. A truly typical 1996 Winston period peak stage was recorded with great sound quality.
On the contrary, even the acoustic corner’s “John Brown” explodes with high-tension Dylan’s singing, and this is a great performance even on the first day of a three-night performance. The momentum does not weaken at all even at the end of the live performance, such as “Seven Days” and “Alabama Getaway”, which are also unique to this time of year. The audience is literally excited in front of the sharp performance, and you can enjoy the cheerful atmosphere with an exquisite balance that is incomparable to the previously released version.
From “THE MAINE EVENT”, which has such a great performance and excellent sound source, the first day will be released as an upper version and limited press CD. Dylan at his peak in 1996, captured by an exquisite audience that is sure to be overwhelmed not only by those who have the already released editions, but also by enthusiasts who have never seen this masterpiece before!

Disc:1 (67:33)
1. Intro
2. Drifter’s Escape
3. Tonight I’ll Be Staying Here With You
4. All Along The Watchtower
5. You’re A Big Girl Now
6. This Wheel’s On Fire
7. Silvio
8. Tangled Up In Blue
9. Visions Of Johanna
10. John Brown

Disc:2 (51:17)
1. Stuck Inside Of Mobile With The Memphis Blues Again
2. Simple Twist Of Fate
3. Band Introductions
4. Seven Days
5. Alabama Getaway
6. Forever Young
7. Rainy Day Women # 12 & 35

Bob Dylan – vocal & guitar
Bucky Baxter – pedal steel guitar & electric slide guitar
John Jackson – guitar
Tony Garnier – bass
Winston Watson – drums & percussion

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