Rolling Stones / Anaheim 1978 Day 1 / 2CD

Rolling Stones / Anaheim 1978 Day 1 / 2CD / Non Label
Live at Anaheim Stadium, Anaheim, CA, USA 23rd July 1978


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Rolling Stones At the end of the 1978 US tour, the show at Anaheim Stadium, which was held twice for convenience, was a limited press CD based on the analog LP “RETURN TO LIVER” on the 24th just 10 years ago. On the other hand, there was a track record of being released, but on the 23rd performance, the title “THE BURNING OUT” was the only release in the 1990s, and it has been surprisingly blessed for more than 20 years that there is no other I will. Even so, “THE BURNING OUT” (hereinafter referred to as the “existing board”) was based on a trade cassette, so there was a big drawback that the pitch fluctuation in the early stages of the show was severe. Even if the pitch can be controlled and played by a player, it is necessary to adjust while listening, so it’s best not to rest.
This is the first day of Anaheim 1978, when there was no new item after Reiwa, but this time finally, the upper limited press CD release will be realized. First of all, I tried to adjust the crazy pitch of the entire sound source as well as the instability of the pitch in the first half of the show that was fatal already. Even with this alone, it has been reborn as a version that can be heard incomparably with the already released version. Therefore, if you think that the concept is the same as “ANTWERP 1973”, please.

Since the sound source of this day was the audience recording that was carried out at the stadium, there is a sense of distance in the sound image, but still it is definitely on and stereo recording than the “RETURN TO LIVER” of the next day. Therefore, I would say it is a good sound source that is easier to play with. The sound quality is a natural one that combines a vintage audience feeling in a good sense with an analog feeling unique to cassette recording, and I think there are more enthusiasts in this respect than in the next day.
It’s a cassette recording, so there’s certainly a lot of hiss in it, but it’s also a texture that doesn’t hurt. If you remove the hiss contained in it, it will change into an equalized finish and lose the natural texture above all. Therefore, we made use of the natural feeling of the sound source, avoiding excessive equalization, and adjusting the balance of the entire sound source. The finish is really easy to hear, and I think we should be able to hear it more than the next day.

As mentioned earlier, even though it was known among enthusiasts as a sound source that has only one item released so far, the content of the performance is fully open like the 1970s Stones. In the first place, both the Anaheim II performance at the end of the tour and the Auckland Coliseum of Chiaki Music use a huge stadium, and the show has started at a bright time during the day. For Stones, who would have been a night-time era in this era, it’s easy to imagine that if it started in the daytime and was a stage at a stadium exposed to the summer sunshine, it would spoil the looseness of its own. I can do it.
Speaking of the 1978 tour, Mick, who was conscious of punk, had a playful and runaway performance, but on this day, in addition to the reason earlier, the end of the tour overlapped and the atmosphere was surprisingly relaxed. Playing at. In other words, can it be called a performance that feels stable for only 78 years? That said, it was America in 1978. The “Lies” explodes the uniqueness of this tour. A runaway-like performance explodes from the intro, and at the end everyone’s pieces end up falling apart. A performance that just rushes is really attractive.
In addition, the delicate presence of the clapping that occurred when “Miss You” that brought Stones back to the front line of the hit chart began, is unique to the recording at the stadium, and only in 1978 that this song was a hit. It is good that the scene of is transmitted. After that, there was a runaway performance centered around Mick, and it seems that it was 1978 when Mick’s screaming of Kirekkire was heard in “Shattered”.

However, from that view, the Stones and other people (except the rhythm team) including Mick on this day feel as if they were drunk with alcohol rather than drugs. The first glimpse of that was Keith’s Happy. He’s so salty that he misunderstood the lyrics and sang while muttering the customary ban on the tour. Or maybe it’s because of the heat (when I look at the picture on that day, I’m on the stage in a costume that is rarely shirtless) and the next song doesn’t start, and there’s a strange gap. There, Mick and Ronnie talked with the intention that they were on the spot.
If Keith finally played the intro to “Sweet Little Sixteen”, Mick lost his timing this time, and he tried to redo over the microphone, but the whole band got on and it was already late. There is no choice but to start singing from the middle, but he seems to be drunk rather than disappointed. And the last “Jumping Jack Flash” was a performance of 10 minutes including this tour’s annual prize, but this also lost the timing to finish halfway, and when it was noticed, it was said to have reached 10 minutes. Feeling. It is interesting that you can feel the Stones’ sickness from such a place.
And the next day, it is known that Nicky Hopkins and Bobby Keys jumped in, but in fact Nicky was on the stage that day, and in the introduction of the members, Ian McGregan, a regular of this tour, left Mick. It is treated exceptionally because it will be introduced to you (with the annotation “I just got a little more”). Certainly, in “Brown Sugar”, there is a keyboard-like sound that he plays.
The first day of 78 Anaheim, where enthusiasts have a good reputation not only in sound quality but also in terms of performance from the next day, but no new items have appeared for over 20 years. For most people, the first time you hear this release, it’s almost the same. The madness of the pitch, which was the biggest concern, has been completely resolved, and the title of mania joy that finally allows you to listen to the show of the day is now available. Anyway, the charm of the loose 70’s Stones A full day, this is interesting!

ローリング・ストーンズ1978年のアメリカ・ツアー終盤、都合二回ほど行われたアナハイム・スタジアムでのショーは24日の公演がアナログLP「RETURN TO LIVER」を元にした限定プレスCDがちょうど10年前にリリースされた実績があった一方、23日公演に関しては1990年代に「THE BURNING OUT」というタイトルが唯一のリリースで、未だにそれ以外が存在しないという意外に恵まれない状況が何と20年以上も続いています。それでいて「THE BURNING OUT」(以下、既発盤と称します)はトレードカセットをベースとしていたせいでショー序盤におけるピッチの変動が酷という大きな欠点がありました。仮にピッチがコントロール可能プレイヤーで再生したとしても、聞きながら調整しなければならないのだから落ち着かないことこの上ない。
そのせいで令和を迎えても新たなアイテムが一切しないままという状況の続いていた78年アナハイム初日ですが、今回ようやくアッパー版限定プレスCDリリースが実現します。まず既発盤の致命的なショー前半におけるピッチの不安定さはもちろん、音源全体の狂ったピッチをしっかりとアジャストしてみせました。これだけでも既発盤とは比べ物にならないほど聞き込めるバージョンへ生まれ変わった訳です。よってコンセプト的には「ANTWERP 1973」と同様だと思っていただければ。

この日の音源はスタジアムで敢行されたオーディエンス録音ですので、音像には距離感があるのですが、それでも翌日の「RETURN TO LIVER」よりは確実にオンな状態であり、なおかつステレオ録音であることから、それよりもとっつきやすい優良音源と言っていいと思います。音質もいい意味でのビンテージ・オーディエンス感とカセット録音ならではのアナログ感が合わさったナチュラルなもので、この点においても翌日よりも好ましく感じるマニアが多いかと。

またストーンズをヒットチャートの最前線に連れ戻した「Miss You」が始まった時に起きた手拍子の細やかな臨場感はスタジアムでの録音ならではですし、本当にこの曲がヒットしていたのだという78年ならではの光景が伝わってくるのがイイ。その後もミックを中心として暴走気味な演奏が続き、今度は「Shattered」でミックによるキレッキレの絶叫が聞かれるのも78年らしい。

ようやくキースが「Sweet Little Sixteen」のイントロを弾いたかと思えば、今度はミックがタイミングを見失ってしまい、マイク越しにやり直しを求めるもバンド全体が乗ってきてしまい時すでに遅し。仕方なく彼は途中から歌い出しますが、その調子もやけというより、むしろ酔っぱらっているかのよう。そしてラストの「Jumping Jack Flash」はこのツアー恒例のリプライズを含めて10分に及ぶ演奏となったのですが、これも途中から終わるタイミングを見失ってしまい、気が付いたら10分に及んでしまったという感じ。こんなところからもストーンズの酔いの回り具合が感じられて面白い。
そして翌日はニッキー・ホプキンスとボビー・キーズが飛び入りしたことでも知られていますが、実はこの日もニッキーがステージに上がっており、何とメンバー紹介ではこのツアーのレギュラーであるイアン・マクレガンを差し置いてミックに紹介されるという(「ちょっと加わってもらっただけだけどね」という注釈付き)破格の扱い。確かに「Brown Sugar」では彼が弾くキーボードらしき音が鳴っています。


Disc 1 (55:58)
1. Intro
2. Let It Rock
3. All Down the Line
4. Honky Tonk Women
5. Star Star
6. When the Whip Comes Down
7. Beast of Burden
8. Lies
9. Miss You
10. Just My Imagination

Disc 2 (57:00)
1. Shattered
2. Respectable
3. Far Away Eyes
4. Love in Vain
5. Tumbling Dice
6. Happy
7. Sweet Little Sixteen
8. Brown Sugar
9. Jumping Jack Flash

Mick Jagger : Vocals & Guitar Keith Richards : Guitar & Vocals Ron Wood : Guitar
Bill Wyman : Bass Charlie Watts : Drums
Ian McLagan : Keyboards Ian Stewart : Piano

With Special Guests : Nicky Hopkins : Piano Bobby Keys : Saxophone on Miss You & Brown Sugar

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