Rolling Stones / Definitive Munich 2017 / 2CD

Rolling Stones / Definitive Munich 2017 / 2CD / Non Label

Translated Text:
Live at Olympiastadion, Munich, Germany 12th September 2017

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The up and down movement of the live groove feeling which will remain in the history of the tour of Stones became a topic (lol) “NO FILTER” tour ended safely in Paris last month. Among the releases so far, we have boasted of the quality that Hamburg, Lucca, and Stockholm’s audience recording have evolved. Interestingly, the same phenomenon was seen not only in the performance of Stones but also in the quality of audience recording (bitter smile). As evidence, there are performances that still can not be released on press CDs even though sound sources exist. Regarding those sound sources, we have released them in the form of gifts, and in reality the quality was due to the fact that it was a quality that was inferior to the three major sound sources mentioned earlier.
When the first day’s Hamburg sound source which finally became Sold Out finally appeared as a limited press CD, it was expected to be “Does the best sound source appear rapidly in this condition?”, But it is easy to do That does not carry. This may have been an unexpected phenomenon considering the period of 2017. From the “ZIP CODE” tour in 2015, there was an impression that it was mass produced by the superb sound source, while on the European tour of 2014, there was a variation in the quality of the sound source which appeared again. In the underground sound source world, there was an impression that the land of Europe somewhat speaks of high-quality sound sources on a rich basis, but as for the recent years it seems like a little change in circumstances .

But Europe’s fourth highest sound source finally appeared! With this release, the ultimate sound source from “NO FILTER” tour will be formed by the four heavenly kings. However, this time it is not an unreleased performance so far, it is an upper tone generator of a performance that had already been released on limited press CD. It was a pretty beginning, but the performance caught in its superb sound quality was Munich on the second day of the tour.
That’s right, that was already released as “MUNICH 2017” is also a memorable new performance. In the first place, “MUNICH 2017” itself is quite high quality sound, rather the quality of the three major sound sources seems to be too close to the level of clearness, but still the quality is high enough, it should have been a good recording recommended for everyone. Still the high quality of the new sound source of this time is intense. In addition to the clearness of “MUNICH 2017”, the sound power which was originally turned on further pushes forward to the eyes. Well, this is near.
It is enough to be convinced even by just listening to the opening SE. It is a level that is suitable for the sound quality of the show next to Hamburg which boasts its superb quality. Besides, the bass with power and power is also wonderful. If “MUNICH 2017” is missing, it is a low area. Even in that respect, this new sound source will show us overwhelming power. Even with this release, there were few points to add. At the time of the “ZIP CODE” tour, two kinds of superb sound sources appeared at Indianapolis and Citrus Bowl, resulting in the phenomenon that both sound sources were released on a limited press CD, but finally this time The same phenomenon occurred on the tour.

Thanks to the fact that Munich’s performance was promoted to invincible high sound quality, or because the stones have gotten used to the show after Zurich who grabbed the tone, the stage on the second day of the unlucky tour, Munich It has evolved into a phenomenon phenomenon that the performance sounds fresh as unexpectedly (laugh). Because it is an audience recording which bass has worked anyhow, it seems that the performance lacking sharpness in the early stage of the show seems to be an illusion that it is a strong and powerful performance here.
Of course, it is a fact that Keith says he made a mistake in lyrics from salty, “Happy” which the performance itself has become Gudaguda, even the sense of that yorerey is heard in real. However, it is a big appeal to enjoy “Dancing With Mr. D” which was performed better than Hamburg with this superb sound quality, and with “Satisfaction” it is still a slow tempo and plenty of powerful performance It is a good level that you can reevaluate anything.
And also the fact that the outline of the base of Darryl Jones is captured surprisingly clearly throughout is a great appeal in this sound source. Except for “Miss You” where his solo is featured, Darryl ‘s bass sound is not so big with real sound from live venues. However, here he sounds solid from his opening “Sympathy For The Devil”. In that respect it will sound fresh. Now that Hamburg on the first day has become Sold Out, a new source of sound in Munich with high value as a new superb sound source that captured the stage of the three performances before Zurich. But more than anything, it’s true that the first part of the tour’s performance is fresh.

ストーンズのツアー史上に残るであろう、ライブ・グルーブ感の上下動が話題となった(笑)「NO FILTER」ツアーも先月のパリで無事に終了。今までリリースされてきた中では、ハンブルク、ルッカ、そしてストックホルムのオーディエンス録音が抜きん出たクオリティを誇ってきました。面白いことに、バラつきが見られるのはストーンズの演奏だけでなく(苦笑)オーディエンス録音のクオリティに関しても同様の現象が見られたのです。その証拠として、音源が存在しつつも未だにプレスCDでのリリースが実現できない公演が存在します。それらの音源に関してはギフトという形でリリースしてきており、現実にクオリティは先に挙げた三大音源から大きく見劣るクオリティであったことが原因でした。
限定のプレスCDも遂にSold Outとなってしまった初日のハンブルク音源が登場した際には「この調子で極上音源が矢継ぎ早に登場するのか?」と期待させられたものですが、そうは簡単にことが運ばない。これは2017年という時代を考慮すると意外な現象だったのではないでしょうか。2015年の「ZIP CODE」ツアーからはそれこそ極上音源が量産されたような印象があった一方、2014年のヨーロッパ・ツアーではやはり登場した音源のクオリティにばらつきが見られたものです。アンダーグラウンドな音源界では、どちらかと言うとヨーロッパという土地の方が高音質な音源が豊富に出回る印象があったのですが、近年に関しては少し状況が変わってしまったように思えてなりません。

しかしヨーロッパ第四の極上音源が遂に登場!今回のリリースによって「NO FILTER」ツアーからの極上音源は四天王が形成されることになるでしょう。ただし、今回登場するのは今まで未リリースだった公演ではなく、既に限定のプレスCDにてリリースされていた公演のアッパー音源なのです。だいぶもったいぶった始まりとなりましたが、その極上音質で捉えられた公演は何とツアー二日目のミュンヘン。
そうです、既に「MUNICH 2017」としてリリースされたのも記憶に新しい、あの公演です。そもそも「MUNICH 2017」自体がかなりの高音質であり、むしろ三大音源のレベル迫れそうなほどクリアネスに長けた質感はそれでも十分にクオリティが高い、それこそ万人にすすめられる優良録音だったはず。それでもなお今回の新音源のクオリティの高さは強烈。「MUNICH 2017」のクリアネスに加え、元々オンだった音像がさらに目の前へと迫り来るド迫力。うーん、コレは近い。
オープニングのSEを聞いただけでも確信出来てしまうほどの近さ。あの極上クオリティを誇ったハンブルグに次ぐショーの音質クオリティに相応しいレベル。それにズシリと迫力のある低音がまた素晴らしい。もし「MUNICH 2017」足りないものがあったとすれば、それは低域。その点においても今回の新音源は圧倒的な迫力を見せつけてくれます。今回のリリースに際しても、手を加える点はほとんどありませんでした。「ZIP CODE」ツアーの時にはインディアナポリスとシトラス・ボウルで二種類の極上音源が現れてしまい、結果としてどちらの音源も限定のプレスCDにてリリースされるという現象が起きましたが、遂に今回のツアーにおいても同様の現象が起きてしまいました。

こうしてミュンヘン公演が無敵の高音質へと昇格してくれたおかげで、あるいはストーンズが調子を掴んだチューリッヒ以降のショーにも聞き慣れてきたせいか、またおぼつかないツアー二日目のステージであるミュンヘンの演奏が意外なほど新鮮に聞こえてしまうという、まさかの現象へと発展してしまいました(笑)。何しろ低音の効いたオーディエンス録音ですので、ショー序盤におけるメリハリを欠いた演奏がここではずっしりと力強い演奏かと錯覚しそうになってしまうほど。
もちろん、キースが歌詞をしょっぱなから間違えた挙句、演奏そのものがグダグダになってしまった「Happy」などは、そのヨレヨレ感までもがリアルに聞こえてしまうのは事実。しかしハンブルクよりも良い出来の演奏が披露された「Dancing With Mr. D」をこの極上音質で楽しめてしまうのも大きな魅力ですし、「Satisfaction」ではまだテンポが遅いなりに迫力たっぷりな演奏をしている点などは、もはや再評価していいレベル。
そして全体を通してダリル・ジョーンズのベースの輪郭が驚くほど明瞭に捉えられている点も今回の音源における大きな魅力。彼のソロがフィーチャーされる「Miss You」を除けば、実際のライブ会場からの出音でダリルのベース音というのはそれほど大きくない。ところが、ここではオープニングの「Sympathy For The Devil」から彼のプレイがしっかりと聞こえてしまう。その点においても新鮮に聞こえることでしょう。初日のハンブルクがSold Outとなってしまった今、チューリッヒ以前の三公演のステージを捉えた新たな極上音源としての価値も高いミュンヘンの新たなる音源。しかし何よりもツアー序盤の演奏が新鮮に聞こえてしまうだなんて、これ本当!

 

Disc 1 (78:31)
1. Intro. 2. Sympathy for the Devil 3. It’s Only Rock ‘n Roll 4. Tumbling Dice
5. Out of Control 6. Just Your Fool 7. Ride ‘Em on Down 8. Dancing With Mr. D
9. You Can’t Always Get What You Want 10. Beast of Burden 11. Paint It Black
12. Honky Tonk Women 13. Band Introductions 14. Happy 15. Slipping Away

Disc 2 (63:50)
1. Midnight Rambler 2. Miss You 3. Street Fighting Man 4. Start Me Up 5. Brown Sugar
6. Satisfaction 7. Gimme Shelter 8. Jumping Jack Flash

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