Rolling Stones / Live In Oakland 1969 / 1CD

Rolling Stones / Live In Oakland 1969 / 1CD / Non Label

Translated text:
Live at Oakland Coliseum, Oakland, CA. USA 9th November 1969 (2nd Show)

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From this year on, in the floor sound source field of Floyd there is a wonderful version of a stereo matrix sound source that utilized multiple audience recordings in one performance, and maniac has created a matrix version of Boblingen ‘s 72 – year CD Only recently. Many artists’ sound sources have been tried from among maniacs than before, but recently, combined with ease of use to improve the performance of sound source software, a stereo feeling with a high degree of completeness is produced Matrix version that will show up on the net.
In such a big topic is called the stereo matrix version of Rolling Stones’ 1969 Auckland, second show sound source. Speaking of Auckland’s second show, everyone remembered is the first bootleg in the history of Stones, “LIVE’R THAN YOU’LL EVER BE”. More than that, the high quality of audience recording of the sound source recorded in “LIVE’R THAN ~” is a legend.
The LP is made by the person who operated the label which later calls the TMOQ. Ken and Dub are two people who have felt quite recognized among maniacs in the 2010s. It was “LIVE’R THAN ~” that they released next to Bob Dylan’s “GREAT WHITE WONDER” famous for their first bootleg in the history of rock. This sound source boasts a different quality as the audience of 1969. Dub succeeded in capturing the performance on by using the shotgun microphone instead of the surrounding sound.

TMOQ label sound source
It is well known that it became the opportunity to release anecdotes about the album and official ‘GET YER YA – YA’S OUT’. What is surprising than anything is that the value of the item and the sound source did not fade at all even after the appearance of the official. On the contrary, the sound source that Dub recorded, even in recent years, has been released in various forms. It is a testimony of how excellent it was that recording. This recording is referred to as Dub recording below.

Promoter owned SBD
Sound board recording of the same show that appeared in the mid-80s as a surprising counter horse against this amazing longevity sound source. This was recorded by Bill Graham who organized Auckland’s show for recording, and in 1972, when it was realized again in Stones’ America tour, it was broadcasted on the radio concurrently as a promotion. The light board that released the sound board recording in that Auckland 69 was the LP called “OAKLAND SIXTY-NINE” of the black and white jacket, singing Mick and Flying V Keith The name board released with two kinds of black and white jackets. Therefore, although it was a highly evaluated sound source for maniacs, still the entire show was not recorded enough to kick it out because the dub recording was recorded for a long time. This is called SBD.

Third recording
Interestingly enough, since both Dub recording and SBD were equipped with great appeal, Auckland 69 is unusual in that these unique sources continue to coexist, unique situations will not change even in the 21st century It became a pattern. If it is normal, SBD should be decided as a definitive version, because both were kept popular. However, in 2010, a separate recording audience sound source will be discovered. As expected it is not easy to dub recording, but also boasted a quality that goes pretty good here as well. The reason why this sound source was welcomed by maniacs more than that is that it contained a lot of scenes that were not captured by the past two kinds of sound sources. We call this a third source.

Regarding this sound source, it was released in gift CD-R in the past, and DAC label etc. has also released culmination of three kinds of sound sources. In contrast to this, the sound source that maniacs gave to the net this time is basically finished in stereo matrix version with two kinds of audience (Dub recording + third source).
As already calling a big topic, the improvement of the stereo feeling and the sound quality this time is really wonderful. Both of the audience boasted an incredible level of sound quality as 69 years, but after all it was monophonic recording. It was a fact that it was a dark and sunky texture. However, because it was stereoscopically renewed this time, it has been reborn into a bright and spreading sound quality at a stroke, so I can not forbid surprises. When playing back with headphones it should be overwhelmed by the phenomenal stereo feeling.
Only the early stage of “Under My Thumb” has only the third source and there is no sound source, so only this part will be recorded in monaural, but it will rather let me realize the outstanding finish of this time instead.
Besides not only the loss of the periodical recording of the opening “Jumping Jack Flash” which was a fatal defect in the dub recording naturally became inconspicuous, as well as the stable balance between the MCs between the songs that heard the volume level lower than the performance level It has evolved to the best sound quality stereo version that you can hear with.

Even just the points listed up to this point deserve a sufficiently limited press release CD, but the maniac who produced made a remarkable sense is matrix processing with two acoustic songs. What makes these parts mix SBD and succeeded in raising the balance of Mick’s vocal which was a distant subject in various audience recordings because of quiet performance. That surprisingly natural finish is another masterpiece. He showed outstanding sense, such as diverting SBD even in “Live With Me”.
There is a big pitfall there though it is a stereo matrix version of Auckland 69 ‘s second show, which is a strange thing to do. Contrary to the synthesis of a precise sound source, it was recorded with the pitch rising. I had wanted him to do it without regard to the pitch, as he showed a splendid finish. There is no such thing as only regret. Therefore, upon this release, we adjusted the pitch precisely at our shop. Since it is a topical sound source anyway, it seems to be essential that items are released again. But this version will be the only firmly correct version up to pitch. A masterpiece of audience recording comes out this week from the 1969 American tour, which pairs with the soundboard masterpiece “GET YER YA – YA’S OUT! COMPLETE EDITION”!

★ Fixed the pitch was 10-15% higher than a semitone.

そんな中で大きな話題を呼んでいるのがローリング・ストーンズの1969年のオークランド、セカンドショー音源のステレオ・マトリクス・バージョン。オークランドのセカンドショーと言えば誰もが思い出すのがストーンズ史上初のブートレグ「LIVE’R THAN YOU’LL EVER BE」。それ以上に「LIVE’R THAN~」に収録された音源のオーディエンス録音としてのクオリティの高さが伝説となっているもの。
同LPは後にTMOQを名乗るレーベルを運営していた人物によって作られています。2010年代に入ってマニアの間でもかなり認識された感のある二人がケンとダブ。二人がロック史上初のブートレグとして有名なボブ・ディランの「GREAT WHITE WONDER」に次いでリリースしたのが「LIVE’R THAN~」だったのです。この音源は1969年のオーディエンスとしては別格のクオリティを誇るものであり、ダブがショットガン・マイクを使って周囲の音よりも演奏をオンに捉えることに成功していました。

そのアルバムに関する逸話やオフィシャル「GET YER YA-YA’S OUT」をリリースさせるきっかけとなったことは良く知られるところ。何よりも驚かされるのは、オフィシャル登場後もアイテムや音源の価値がまったく色褪せなかったことでしょう。それどころか近年に入ってもダブが録音した音源は様々な形でリリースされ続けてきたのです。それがいかに卓越した録音であったかの証というもの。この録音を以下ダブ録音と称します。

この驚異的な長寿を誇る音源に対して意外なる対抗馬として80年代半ばに現れたのが同じショーのサウンドボード録音。これはオークランドのショーをオーガナイズしたビル・グレアムが記録用に録音したものであり、1972年に再度のストーンズのアメリカ・ツアーが実現した際にプロモーションを兼ねてラジオで放送されました。あのオークランド69にサウンドボード録音が存在したことを明るみにしてくれたのは白黒ジャケットの「OAKLAND SIXTY-NINE」というLPで、歌うミックとフライングVキース二種類の白黒ジャケットでリリースされた名盤。よってマニアには高く評価された音源だったのですが、それでもショー全体はダブ録音の方が長く収録していたことから、それを蹴散らすほどの存在にはなりませんでした。これをSBDと称します。


唯一「Under My Thumb」の序盤だけはサード・ソースしか音源が存在しませんので、この部分のみがモノラル収録となってしまいますが、それがかえって今回のずば抜けた仕上がりを実感させてくれるでしょう。
おまけにダブ録音における致命的な欠陥だったオープニング「Jumping Jack Flash」の周期的な録音の欠損が自然に目立たなくなったのはもちろん、演奏より音量レベルが低く聞こえた曲間のMCも安定したバランスで聞き通せる最高音質ステレオ・バージョンにまで進化してしまった。

ここまで挙げたポイントだけでも十分に限定のプレスCDリリースに値するものですが、制作したマニアが卓越したセンスを見せつけたのがアコースティックな二曲でのマトリクス処理。何とこれらのパートではSBDをミックスさせ、静かな演奏ゆえに各種オーディエンス録音において遠目だったミックのボーカルのバランスをアップさせることに成功しているのです。その驚くほど自然な仕上がりがまた圧巻。彼は「Live With Me」でもSBDを流用するなど、抜群のセンスを発揮してくれました。
こうしていいことずくめなオークランド69のセカンドショー、ステレオ・マトリクス・バージョンではありますが、そこには大きな落とし穴がありました。緻密な音源の合成ぶりとは裏腹に、ピッチが上がった状態のままで収録されていたのです。せっかく見事な仕上がりを見せていたのだから、そこはピッチに関しても抜かりなくやってもらいたかった。こればかりは残念としか言いようがない。そこで今回のリリースに際し、当店でピッチを緻密にアジャスト。何しろ話題の音源ですので、他にもアイテムがリリースされることは必須だと思われます。しかしピッチまでしっかり正したバージョンは本タイトルだけでしょう。サウンドボードの傑作「GET YER YA-YA’S OUT! COMPLETE EDITION」と対を成す、1969年アメリカ・ツアーからオーディエンス録音の傑作が今週登場です!



1. Introduction 2. Jumping Jack Flash 3. Carol 4. Sympathy for the Devil 5. Stray Cat Blues
6. Prodigal Son * 7. You Gotta Move * 8. Love in Vain 9. I’m Free 10. Under My Thumb
11. Midnight Rambler 12. Live with Me * 13. Gimme Shelter 14. Little Queenie
15. Satisfaction 16. Honky Tonk Women 17. Street Fighting Man

Stereo Matrix of 2 mono audience recordings
(* with parts from soundboard tape)


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