George Harrison / Royal Albert Hall 1992 / 2CD

George Harrison / Royal Albert Hall 1992 / 2CD / Non Label
Translated Text:
Live at Royal Albert Hall London, UK 6th April 1992

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Although it seems that there are many people who experienced in real time, George · Harrison ‘s performance in Japan in 1991 with a feeling of becoming a legend now. Moreover, the formation which followed Eric · Clapton band as a whole in the back also became to receive treatment of the legendary tour with the passage of time. George is now on the stage of his home country British within six months from this performance in Japan. It was live at Royal Albert Hall on April 6, 1992. This was done as a support concert of the party “For Natural Law Party” backed by George at the time. The concert has turned into a legendary presence now. That was because this day has become the last live show as his single concert as a result.
After the dissolution of the Beatles, especially with John George from the late 1970s turned into a lively artist. Still John ‘s death in the 1980s was sporadic but it went up to the stage, and from this 1991 to the year 92 it is a time when George struggled to the stage astonishingly when looking back. After the show at the Royal Albert Hall (hereinafter referred to as RAH) in 1992, we participated in the Bob Dylan’s thirtieth anniversary concert in half a year, and at that time “George finally returned to active stage activities It seemed like I was getting an illusion. However since 1993 the Beatles Anthology project and his own health problems overlapped, and as a result the RAH concert became his last live.

For the 1992 RAH show, two items are produced from two types of audience recording in real time. “HARI & THE HIJACK BAND” which totally recorded to the stage of Joe Walsh and Gary Moore of the opening, and “OVEREXPOSED AND HYPNOTIZED” which recorded only the set of George. Both of them played a reputation with the clearness unique to audiences recording using DAT tape that was evolving at that time, and among them “HARI & THE HIJACK BAND” also helped complete collection of the show, copies were produced many times As much as it was.
In this way, it is 1992 RAH which was known as the sound source by the two types of DAT recording so conveniently, but this time, it excavates a completely new brand new audience recording master tape, which is different from any one. Of course, none of the traders have ever come around, of course, the British familiar heavyweight taper has been kept confidential for over 25 years while going to RAH for recording.

The new audience recording released this time is not a DAT like past items but was recorded using two hyposi cassettes. Compared with DAT which can keep turning tape for a long time, cassette which tape change becomes necessary becomes bad minutes. Actually this sound source will be cut after the end of Gary Moore ‘s “The Blues Is Alright” and George’ s “Here Comes The Sun”, cuts between songs not in the past items. Fortunately, however, all of them have not eroded the performance, they are just getting hat off in their brilliant work.
The sound quality of this recording should be noteworthy. The natural high-pitched elongation and clearness unique to analog recording of hyposi cassettes is a big appeal that we could not taste in past items and recordings. In the 1990’s, only the digital clearness was biased and the clearness was evaluated in the past two items, but if you hear it now, you will lose thickness or you will be concerned about the digital dense feeling unique to digital Also a fact. On that point, the natural clearness of this cassette recording is exceptional. In terms of sound images, past items are more nearly felt, but the goodness of listening comfort that conveys the realistic feel of total live music, more recently the cassette tape is restoring now, the sound quality of this time sound source The wonderfulness of the press is perfect for release press CD limited.

In addition, this day was not a pure concert, it also served as a political party support event, so the response of the audience was quieter than the previous year’s performance in Japan, even at times it seems to be even “as if it is going down”. Especially despite the fact that Joe Walsh of the top batter is easy to understand as a short turn that only his representative songs, more than half of which are classic in the Eagles era, it is surprising for the pleasantness of this reaction. However, as a side to appreciate live music, there is no environment suitable for listening carefully.
On that point Gary Moore’s set is a masterpiece full of confidence full of confidence that the blues routes are in the midst of great success, such a fancy reaction is not carried out either. Sometimes referred to as opening act, it is a stage with a feeling that has been overlooked by his fans, but by all means by now it is something you would like to reconfirm its best performance in this release.

George ‘s stage that resulted in the last performance, but this day it finished recording “UNPLUGGED”, Clapton who was taking off before the start of the 1992 tour did not participate, and even Nathan East Not going. So Mike Campbell from Tom Petty’s Heartbreakers and Will Lee famous as a session bass player on the bass are recruited to the lead / guitar. Furthermore, since two songs “If I Needed Someone” and “Dark Horse” were cut, the difference from the Japanese performance can be seen everywhere.
It is familiar magazine surface to mania that George rewards “Dumo Allato” in Japanese against “Axiety of your home country” after “Taxman”, and Japanese performances introducing band members after the same song There was no innovative thing. There is also a difference in the band ensemble, and in the latter part of “Is not It Pity”, Greg Fili Gain sings differently from the Japanese performance and hears as much enthusiasm as likely to make him feel like an illusion by Billy Preston. Not only is the next “Devil’s Radio” concluding the encore before, it is fresh as well as Campbell’s craftsmanship who does not play gorgeous phrases as Clapton.
And the best is “While My Guitar Gently Weeps”. Moore participates in the performance, while being conscious of Clapton’s phrase, yet a valuable scene where the crying play unique to him explodes. Besides that, although there was a clear development that the guitar solo shifted from Clapton to George in the final stage in Japan performance, Moore played all the time throughout here, George stayed in a discreet phrase in between It was. Rather than George, even Moore has died, it can be said that this is also a legendary moment. It is a new excavation audience by analog recording, which will surprise worldwide maniac from the 1992 RAH show where there were few abrupt items compared with the Japanese performance, and the splendor of this show and even DAT are outstanding in another dimension Please listen carefully to both the comfortable sound quality!

★ Direct recording from the master cassette of the recording person (THAT’S MRX PRO 90 (Metal Position: Type IV) X 2). Completely first appearance sound source of amazement, and the best sound quality ever! It is!

リアルタイムで経験された方も多いかと思われますが、今となって伝説となってしまった感のある1991年のジョージ・ハリスン来日公演。しかもバックにはエリック・クラプトンバンドを丸ごと従えたフォーメーションがまた時の経過と共に伝説的なツアーの扱いを受けるようになったもの。この来日公演から半年もしない内に、今度はジョージが母国イギリスのステージに上がっています。それが1992年4月6日のロイヤル・アルバート・ホールでのライブ。これは当時ジョージが支持していた政党「For Natural Law Party」の支援コンサートとして行われたもの。そのコンサートもまた、今となっては伝説的な存在と化しています。それはこの日が結果として彼の単独コンサートとしてはラスト・ライブ・ショーとなってしまったから。

1992年RAHショーに関しては、リアルタイムで二種類のオーディエンス録音から二つのアイテムが生み出されています。オープニングのジョー・ウォルシュとゲイリー・ムーアのステージまで完全収録した「HARI & THE HIJACK BAND」、もう一つはジョージのセットのみを収録した「OVEREXPOSED AND HYPNOTIZED」。どちらも当時旋風を巻き起こしていたDATテープを使ったオーディエンス録音ならではのクリアネスが評判を呼び、中でも「HARI & THE HIJACK BAND」の方はショーを完全収録ことも手伝い、何度もコピー盤が生み出されていたほど。

今回リリースされる新たなオーディエンス録音が特筆すべきは、過去のアイテムのようなDATではなく、ハイポジのカセットを二本使って録音されたもの。長時間テープを回しっぱなしが可能なDATと比べ、テープ・チェンジが必須となってしまうカセットは分が悪い。実際に今回の音源はゲイリー・ムーアの「The Blues Is Alright」終了後や、ジョージの「Here Comes The Sun」の後、過去のアイテムにはない曲間のカットが入ってしまう。しかし幸いにもそれらのすべては演奏に侵食しておらず、その見事な仕事ぶりには脱帽させられるばかり。


結果としてラスト・パフォーマンスとなってしまったジョージのステージですが、この日は「UNPLUGGED」の収録を終え、92年ツアー開始前のオフを取っていたクラプトンは参加せず、さらにはネイザン・イーストも不参加。そこでリード・ギターにはウィルベリーズの仲間トム・ペティのハートブレイカーズからマイク・キャンベル、ベースにはセッション・ベーシストとして有名なウィル・リーをリクルート。さらには「If I Needed Someone」と「Dark Horse」の二曲がカットされたことから、随所に日本公演との違いが見られます。
「Taxman」の後でジョージが母国のオーディエンスを相手に日本語で「ドウモアリガトウ」とお礼するのはマニアにはおなじみの迷場面ですし、同曲の後でバンドメンバーを紹介するのも日本公演にはなかった斬新なもの。さらにバンド・アンサンブルにも違いがあり、「Isn’t It Pity」の後半では日本公演と違いグレッグ・フィリゲインズも歌い、まるでビリー・プレストンかと錯覚しそうになるほどの熱唱ぶりが聞かれます。次の「Devil’s Radio」がアンコール前を締めくくるというのもユニークなだけでなく、クラプトンほど派手なフレーズを弾かないキャンベルの職人プレイも新鮮。
そして極めつけは「While My Guitar Gently Weeps」。ムーアが演奏に加わり、クラプトンのフレーズを意識しつつも、それでいて彼ならではの泣きのプレイが炸裂という貴重な場面が。それだけでなく、日本公演では終盤でクラプトンからジョージにギター・ソロが移るという明快な展開がありましたが、ここでは終始ムーアが弾きまくっており、ジョージは合間で控えめなフレーズを入れるにとどまっていました。ジョージどころかムーアまでも亡くなってしまった今となっては、これもまた伝説的な瞬間だと呼べるもの。日本公演と比べて俄然アイテムの少なかった1992年RAHショーから、世界中のマニアを驚かせるであろう、アナログ録音による新発掘のオーディエンスでこのショーの素晴らしさと、さらにはDATとは別次元の抜群に聴き心地の良い音質の両方をじっくりとご堪能下さい!

★録音者のマスターカセットよりダイレクト収録(THAT’S MRX PRO 90(Metal Position: Type IV) X 2本)。驚愕の完全初登場音源、しかも過去最高の音質!!

Disc 1 (70:15)
1. Introduction

Joe Walsh:
2. Pretty Maids All In A Row 3. In the City 4. Life in the Fast Lane 5. Funk #49
6. Rocky Mountain Way

Gary Moore:
7. Walking By Myself 8. The Sky is Crying 9. The Blues is Alright 10. Still Got the Blues

George Harrison:
11. I Want to Tell You 12. Old Brown Shoe 13. Taxman 14. Member Introduction 15. Give Me Love

Disc 2 (77:18)
1. Something 2. What is Life 3. Piggies 4. Got My Mind Set On You 5. Cloud Nine
6. Here Comes the Sun 7. My Sweet Lord 8. All Those Years Ago 9. Cheer Down
10. Isn’t It a Pity 11. Devil’s Radio 12. Introductions
13. While My Guitar Gently Weeps (with Ringo Starr, Gary Moore)
14. Roll Over Beethoven (with Ringo Starr, Joe Walsh, Gary Moore)
15. Drum Solo (Ringo Starr) 16. Roll Over Beethoven (with Dhani Harrison)
17. Outro.

George Harrison with The Hijack Band:
Mike Campbell – guitar Andy Fairweather Low – guitar Ray Cooper – Percussion
Greg Phillinganes – Keyboards Will Lee – Bass Steve Ferrone – Drums
Chuck Leavell – Keyboards Katie Kissoon – Vocal Tessa Niles – Vocal

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