Rolling Stones / Brisbane 1973 / 1CD

Rolling Stones / Brisbane 1973 / 1CD / Non Label
Live at Milton Park Tennis Courts, Brisbane, Australia 14th February 1973 (from Low Gen Tape Master)*UPGRADE

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Translated text:

In the height of the rolling stones, between the two tours of 1972 America and 73 Europe, it is a winter tour of 73 years after all, which is irritating in a good sense. Although it is a time when we left the blemish of Japanese visit to vision, it is a time of blessings like a sound source, and among them the schedule of Australia is “HAPPY BIRTHDAY NICKY” and a number of high-quality desktop cabin soundboards including “HAPPY BIRTHDAY NICKY” It was running out. However, there are several good sound sources for audience recording as well. They may all be due to the same taper, since the sound image is on balance and dry texture.
The representative is Auckland performance in New Zealand on February 11th. It is a strange sound source that the state of the Stones which ordered generous mistakes everywhere was caught in a clear sound. In Brisbane on the 14th this release will be released this time, the sound feeling is similar to Auckland, so it is still the same taper recording. Regarding this sound source, the title “VALENTINE’S DAY” from OBR, “EAT MEAT ON STAGE” from VGP has been released in the past, the latter was regarded as the definitive version.

In this time, we got a unique generation of low generation and copy of the same audience recording. This is one that has not been circulated on the net, and provided a sound source that was owned by overseas collectors. This sound source is a superb sound recording that sound image is near and very easy to hear as touched earlier. However, this time the recording starts from the end of the opening “Brown Sugar”, and the point where recording stops at the end of “All Down The Line” remains unchanged. However, as a remarkable point of this generation of low-generation copies, “Love In Vain” which was recorded in the middle of Mick · Taylor’s solo in the past two titles will be completely recorded.
On the OBR board, faded out just after entering a curl sound as if he had pressed the button of the recorder by mistake during Taylor ‘s soloing, and the VGP board was connecting the Auckland performances before the Kuru sound. However, the discovery of this version revealed that it was recorded safely after that. Even this point alone can be said that it is a proof of low generation copy, but the sound quality itself is suddenly natural and warmy more than the past two titles, even makes it feel spreading. This is an upper feeling that you can understand immediately as you compare.
However, in this version, it seems that the recording has been resumed after the recording of “All Down The Line” faded out, as the “Bitch” began immediately (0:02) and switched to a lower generation sound source From the ending of the same song (this also appears for the first time) a different copy is used even before the introduction of “Midnight Rambler” intro. These did not change upon this release, but it was in such a state from the stage of acquiring the sound source. Therefore, although it is in a state of low generation, it seems that there is a proof that it is not “master” stage yet.
Still, the upper feeling throughout is obvious. Moreover, unlike Auckland, the point that you can hear the whole story with a stable sound quality will be a big appeal. In the details, Charlie also began to hit the rhythm of the march long after the last “Street Fighting Man” performance. In addition, the hiss noise was also decreasing, and in the past titles “Hove noise” was close to the sound “sea” in the intro part of “Love In Vain”, but here is a more natural hiss noise and its level Lower.

And anyway the performance is wonderful on this day, especially Mick is outstanding. What is the height of his tension at the top of the winter tour? It is as intense as it seems. Taylor’s guitar playing is also great. As you can imagine from the fact that a lot of pictures were left, Australia and New Zealand often start a show from within the bright sunshine, which was the crown as an unrepentant band at that time Stones, not particularly as early as possible Were not you able to endure Keith? On 11th where lots of slapsticks actually existed, it was started from 15:00 PM, and it seemed that the group engines’ slow lighting was centered around Keith.
However, this day is the start from 20:00 at night and it is time for all the members to challenge the stage with usual condition, not Keith. It seems like it appeared at Mick’s outstanding tension height. Mick is scattered at once from “Bitch”, and Taylor also knocks down the interlude of “Gimme Shelter”. It is also good enough to call this as the best song on the winter tour. The best performance that this outstanding “W Mick” has mutually enhanced is “Love In Vain”. That is the first full length recording that I realized for the first time (there is an example curl cut, so one step not enough for complete recording) would be a fantastic result. However, Keith is making a mistake in the introduction of this song, but only that is reminiscent of the Auckland performance.
And Mick’s momentary tension in “Midnight Rambler” makes it obvious. This is also a masterpiece that you can call it the best in winter tours. Actually too much tension, so in the finale ‘s “Street Fighting Man” his momentum stops singing at number three, and when it gets caught by it it happens that the band falls into a panic condition. Fortunately the confusion will soon fit and return to the original, but these slapsticks seem like 73 Australia. Through such happenings, and throughout the stones ‘high energy performance centered on Cicletire’ s Mick, 73 High Quality Performance in a 73 Winter Tour is a heresy here with an upper version sound!

★ The sound quality itself is suddenly natural and warmy more than the past two titles, and even spreading is made to feel. This is an upper feeling that you can understand as soon as you compare it.

ローリング・ストーンズの絶頂期、1972アメリカと73ヨーロッパという二つのツアーの合間で、いい意味で異彩を放っているのがやはり73年のウインター・ツアー。我々には幻の日本公演という傷を残してしまった時期ではあるものの音源的にはとても恵まれた時期であり、中でもオーストラリアの日程は「HAPPY BIRTHDAY NICKY」を始めとして良質な卓直結サウンドボードが複数流出していました。しかしオーディエンス録音に関してもなかなか良好な音源が複数存在しています。それらはどれも音像がオンなバランスであり、なおかつドライな質感であったことから、同一にテーパーによるものだったのかもしれません。
その代表格は2月11日のニュージーランドはオークランド公演。随所で凡ミスを連発したストーンズの様子がクリアーなサウンドで捉えられてしまった迷音源でしょう。この次の公演が今回リリースされる14日のブリスベンで、音の感じがオークランドとよく似ていることから、やはり同一のテーパーによる録音だと思われます。こちらの音源に関してはOBRから「VALENTINE’S DAY」、VGPから「EAT MEAT ON STAGE」というタイトルが過去にリリースされており、後者が決定版とされていました。

今回は同じオーディエンス録音のロージェネレーション・コピーを独自に入手。これはネット上にも出回っていないもので、海外のコレクターが所有していた音源を提供してくれたものです。この音源は先にも触れたように音像が近くて非常に聞きやすい優良録音。ただし、今回もオープニング「Brown Sugar」の終盤から録音が始まり、「All Down The Line」の終盤で録音が途切れる点は変わりません。しかし今回のロージェネレーション・コピーの特筆すべき点としては、過去の二タイトルにおいてミック・テイラーのソロの途中で録音が終わっていた「Love In Vain」が完全収録されているということでしょう。
ただし今回のバージョンでは「Bitch」が始まってすぐのところ(0:02)でよりジェネレーションが低い音源へと切り替わっており、「All Down The Line」の録音がフェイドアウトした後で録音を再開したと思しき同曲のエンディング(これも初登場)から「Midnight Rambler」のイントロ開始直前までもジェネレーションが違うコピーが使われています。これらは今回のリリースに際して手を加えたのではなく、音源を入手した段階からそのような状態となっていたもの。よってロージェネレーションな状態ではあるものの、まだ「マスター」の段階ではない証がそれらの個所ではないかと思われます。
それでもなお、全体を通してのアッパー感が明白。なおかつオークランドと違って全編を安定した音質で聞き通せる点も大きな魅力でしょう。細かいところではラストの「Street Fighting Man」終演後にチャーリーがマーチのリズムを叩き始めるところも長く収録。おまけにヒスノイズも減少していて、過去のタイトルでは「Love In Vain」のイントロ部分などでヒスノイズが「シー」という音に近い状態だったのに対し、こちらはより自然なヒスノイズかつ、そのレベルも低め。

しかしこの日は夜20:00からの開始であり、キースでなくともメンバー全員がいつもの調子でステージに挑める時間。それがミックの際立ったテンションの高さに現れたように思われます。「Bitch」辺りからミックはさっそく飛ばしまくっており、テイラーも「Gimme Shelter」の間奏を弾き倒してくれます。これもまたウインター・ツアーにおける同曲ベストだと呼べるほどの出来栄え。この際立った「Wミック」がお互いを高め合った最高の演奏が「Love In Vain」でしょう。それだけに初めて実現した全長収録(例のキュルカットがありますので完全収録には一歩及ばず)は快挙でしょう。もっとも、この曲のイントロではキースが凡ミスを犯しており、そこだけはオークランド公演を彷彿とさせてしまうのですが。
そして「Midnight Rambler」におけるミックのぶっ飛びテンションにはあ然とさせられるほど。これもまたウインター・ツアーにおけるベストだと呼べる名演でしょう。実際あまりにテンションが高かったので、フィナーレの「Street Fighting Man」では彼の勢いが余って三番で歌うのを止めたところ、それに釣られてバンドがパニック状態へと陥るハプニングが起きてしまいます。幸いにもその混乱はすぐに収まって元に戻りますが、こういったドタバタは73オーストラリアらしい光景ですよね。そうしたハプニング、さらに全体を通してキレッキレのミックを中心としたストーンズのハイエナジー・パフォーマンスは73ウインター・ツアーの中でも異端の名演をアッパー版音源で!



1. Brown Sugar
2. Bitch
3. Rocks Off
4. Gimme Shelter
5. Happy
6. Tumbling Dice
7. Love in Vain ★後半は初登場、初の完全収録
8. Sweet Virginia
9. You Can’t Always Get What You Want
10. All Down the Line
11. Midnight Rambler
12. Band Introductions
13. Bye Bye Johnny
14. Rip This Joint
15. Jumping Jack Flash
16. Street Fighting Man ★終演後にチャーリーがマーチのリズムを叩き始めるところも長く収録。

Mick Jagger: Lead Vocals, Harmonica
Keith Richards: Guitar, Backing Vocals
Mick Taylor: Guitar
Bill Wyman: Bass guitar
Charlie Watts: Drums

Additional Musicians:
Nicky Hopkins: Piano, Organ
Bobby Keys: Saxophone
Jim Price: Trombone, Trumpet

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