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

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

State Theater, Portland, Maine 20th April 1996

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Portland 3 Days’ masterpiece “THE MAINE EVENT”, which conveyed the charm of the 1996 spring American tour with surprisingly few items despite being at the height of the 1990s, has been recorded from the first original DAT master. The release of “THE MAINE EVENT: DEFINITIVE DAT MASTER; PORTLAND 1996 1ST NIGHT” made enthusiasts overjoyed, but I would rather assert that this time is where the DAT master shows his true potential.
This is because the main features of the old masterpiece “THE MAINE EVENT” (hereinafter referred to as the “already released edition”) were completely recorded only on the first day of the three days, and on the remaining two days they were recorded as dubs. It was an edited version that included only the songs that were not included. Naturally, those two days were not complete recordings, and it was a well-known fact among enthusiasts that RAZOR’S EDGE, which released the pre-release version, was not using a DAT master but a copy that had been dropped onto a cassette.
Therefore, “THE MAINE EVENT: DEFINITIVE DAT MASTER; PORTLAND 1996 1ST NIGHT” is an upper version release from the genuine master that was realized more than 25 years after the live performance, but the remaining two days of this time are As for the release, it was not only from the DAT master, but also the complete version of each show, which was a very groundbreaking release for the first time.

First of all, regarding the second day, I can’t talk about the already released version as it is an incomplete version that only contains songs that are not duplicates of the previous day. In addition, the three days in Portland were all recorded with the same taper with a total superb quality, and it is a big stain that it was not complete in that respect. Unfortunately, although the label RAZOR’S EDGE was touted as a prestigious Dylan label at the time, in reality, not only did it not have the means to copy from DAT to DAT, but it also had the ability to release three days in Portland as a complete set. There was no system. The result was that three-disc set.
Just like the day before, this day’s recording is wonderful with just the right amount of distance and an exquisite recording condition that I would like to call the ultimate in clarity. It also stands out with its clarity, which is unique to a genuine DAT master that does not go through analog dubbing like previous releases. At this stage, the difference between it and the already released version was clearly visible.
Not only that, but the excitement at the venue throughout the three days in Portland was amazing, but it didn’t interfere with the performance or listening at all (so much so that it didn’t get in the way at all!), giving the audience a sense of spaciousness. It was also a big attraction of these three days that they captured it with exquisite balance, and recording from the master is essential if it is a DAT recording that is so excellent in total.

However, as you can see from the fact that the previously released version only includes songs that are not duplicates from the previous day, all of the songs that were performed only on this day are wonderful. From the opening “Crash On The Levee”, both Dylan and the band are at full throttle. Although this hyper-excitement turned around and moved to the somber “Man In The Long Black Coat,” Dylan was shouting powerfully there as well, and rather than being somber, it was rather exciting.
However, the best scene of the day was the performance of “Pledging My Time”. Although it was a masterpiece recorded in the early stages of the masterpiece album “BLONDE ON BLONDE”, there were very few opportunities to perform it live, and in fact, the previous year, 1995, was the year in which it was performed most on stage. The performance here, which can be said to be a remnant of that, has a wonderful slow blues arrangement. The transition from this performance to the lighthearted “Silvio” is also wonderful, but since it was cut from the previously released version for the reason mentioned above, this high-tension performance will be released for the first time in Japan.
In addition, Dylan is at his best with “What Good Am I,” which is included in the same album “OH MERCY” as “Man In The Long Black Coat,” and then the first release of “Alabama Getaway,” which is released in an avalanche, is another high-tension song. The performance, and the excitement of “The Times They Are A-Changin'”, which seems to sum up everything that day, is a shocking DAT that makes you keenly aware that a live performance cannot begin without hearing everything about the day. Master. The first complete recording disc that has been long-awaited by enthusiasts all over the world!

1990年代の絶頂期でありながらアイテムが意外なほど少ない96年春のアメリカツアーの魅力をリアタイで伝えてくれたポートランド3Daysの名盤『THE MAINE EVENT』初のオリジナルDATマスターからの収録が実現した『THE MAINE EVENT: DEFINITIVE DAT MASTER; PORTLAND 1996 1ST NIGHT』のリリースはマニアを大喜びさせた訳ですが、むしろ今回こそがDATマスターの本領発揮なのだと断言いたしましょう。
というのも古の名盤『THE MAINE EVENT』（以下“既発盤”と称します）のメイン・フィーチャーは三日間の中で完全収録されていたのは初日のみで、残りの二日はダブらない曲だけを収録するという編集版だった。当然それら二日間は完全収録でなく、なおかつ既発盤をリリースしたRAZOR’S EDGEがDATマスターでなく、一度カセットに落としたコピーを使用していたことはマニアなら周知の事実でした。
それ故『THE MAINE EVENT: DEFINITIVE DAT MASTER; PORTLAND 1996 1ST NIGHT』はライブから25年以上の歳月が経過して実現した正真正銘マスターからのアッパー版リリースとなった訳ですが、今回の残り二日間に関してはDATマスターからというだけでなく、それぞれのショーの完全版が初という大変画期的なリリースとなったのです。

まず二日目に関してですが、既発盤は前日とダブらない曲だけを収めていた不完全版という段階でお話にならない。それにポートランド三日間はすべて同一のテーパーによってトータルで見事なクオリティで録音されており、その点でもコンプリでなかったのは大きな汚点。残念ながらRAZOR’S EDGEというレーベルは当時こそ名門ディラン・レーベルともてはやされたものの、実のところDATからDATへコピーする術を持っていなかっただけでなく、ポートランド三日間をコンプリのセットでリリースできるだけの体制もなかった。その結果があの三枚組セットだったという訳です。
前日と同じように、この日も程よい距離感とクリアーの極みと呼びたくなる絶妙な録音状態が素晴らしい。それが既発盤のようなアナログ・ダビングを介さない正真正銘のDATマスターならではのクリアーさも際立っている。この段階で既発盤との差がはっきりと表れてしまった。
それだけでなくポートランド三日間を通して会場の盛り上がりは素晴らしいものがあるのですが、それが演奏やリスニングの邪魔になるようなことが（一切と言っていいほど！）なく、オーディエンスならでは広がりある臨場感を絶妙なバランスで捉えてくれたのもまたこれら三日間の大きな魅力であり、これほどまでトータルで秀でたDAT録音となればマスターからの収録は必須というもの。

とはいえ既発盤が前日とダブらない曲だけを採用したことからも解るように、実際この日だけ披露された曲はどれも素晴らしい。オープニング「Crash On The Levee」からしてディランもバンドもエンジン全開。このハイパーな盛り上がりから一転してしんみりとした「Man In The Long Black Coat」へと移ってみたものの、そこでもディランが力強くシャウトしており、しんみりするどころかむしろ盛り上がりを見せている。
しかし何と言ってもこの日最高の場面は「Pledging My Time」が披露されたことでしょう。名盤『BLONDE ON BLONDE』の序盤に収録された名曲でありながらライブ演奏の機会は極めて少なく、それどころか前年の95年こそが一番ステージで披露された年でした。その名残とも言えるここでの演奏はスローブルースなアレンジが素晴らしい。この演奏から一転して軽快な「Silvio」への切り替わりがまた素晴らしいのですが、既発盤では先の理由からカットされていたのでこのハイテンションな演奏は本邦初公開。
また「Man In The Long Black Coat」と同じアルバム『OH MERCY』収録の「What Good Am I」でまたディランが絶好調でして、そこから雪崩れ込む初公開「Alabama Getaway」のこれまたハイテンションな演奏、そしてこの日のすべてを要約するかのような「The Times They Are A-Changin’」での盛り上がりなど、やはりライブは一日のすべてを聞かないと始まらないことを痛感させられる衝撃のDATマスター。世界中のマニア待望となる初の完全収録盤！

Disc:1 (67:13)
1. Intro
2. Crash On The Levee (Down In The Flood)
3. Man In The Long Black Coat
4. All Along The Watchtower
5. Positively 4th Street
6. Pledging My Time
7. Silvio
8. Mr. Tambourine Man
9. Desolation Row
10. Friend Of The Devil

Disc:2 (39:29)
1. Maggie’s Farm
2. What Good Am I?
3. Band Introductions
4. Seven Days
5. Alabama Getaway
6. The Times They Are A-Changin’

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