Rolling Stones / Sydney 1973 1st Night / 2CD

It’s a day when soundboard recordings are pervasive, but it still teaches us the joy of listening to audience recordings on the same day … The Rolling Stones’ 1973 Sydney show is probably the typical source. Surprisingly, the two performances in Sydney in 1973 were PA out on both stages, and soundboard recordings distributed to stereo were leaked, but on the first day there are two more audience recordings. The blessed situation that there is also. However, as long as there is a sound board, it will be a sub-source existence to the last, but it is certainly an existence that can not be ignored.
There are two types of audience recordings, but the first “recorder 1” that appeared was on the IMP label “WINTER TOUR 1973”. However, even at that time, the sound board was sweeping the day, so I couldn’t even look at it. Still, interestingly, another sound source “recorder 2” was released in a short time. That was “VIP DISHED JOINT” released by SHAVED DISC.
Both of these audience recordings were monaural, but first of all, “recorder 1” has a texture that was hangnail and hangnail, but the performance of Stones and Mick’s vocals are captured in a big balance as the audience of this tour. Those that fall into the category that is easy to hear enough. In that respect, “recorder 2” had a problem that the sound quality was a little muffled, although the performance was captured with a large balance. Nevertheless, it was “recorder 2” that was used as a recorder for items such as the DAC “HAPPY BIRTHDAY NICKY”, which mainly consisted of sound boards.
Because it was “recorder 1” which was clearly higher than “recorder 2” in total, but the previous “WINTER TOUR 1973” (hereinafter referred to as “already-released board”) used a gene-dropped cassette. Because of this, the difficulty of listening to this sound source was emphasized, and the original appeal of the sound source was not conveyed.

In the first place, it was a long time since the item was not released for either audience due to the existence of the sound board, but this year, a version recorded from the master cassette suddenly appeared for “recorder 1”. This was a surprising improvement in sound quality. Of course, the version that was transferred from the master by making full use of the latest technology and the existing board that used the Gene drop cassette in the 1990s is too different in dimension and it is not a match, but the upper feeling is really easy to understand. Even more, if you are a maniac who has an existing board, you may be surprised at how easy it is to hear, which is far beyond your imagination.
As expected, there is only a master cassette, and the upper feeling that the visibility is improved by peeling not only one skin but also two skins from the existing board, especially the freshness is wonderful. In addition to that, the latest technology was used to suppress the squeaky texture of this sound source to the extent that it was not overdone, and as a result, it became easier to hear. When this happens, it is finally incomparable to the existing board.

The biggest attraction of this audience is that it conveys the dynamics of the performance of the day more than the sound board, and even the tremendous excitement. Certainly, the PA out sound board of the day was full of power because it was stereo, and it is natural that it was regarded as one of the standard sound sources. However, the fate of the PA sound board, or the sense of presence, cannot be hoped for. However, how about the awesomeness of the excitement transmitted from this sound source? It’s a storm of clapping just because the Stones first appeared, and the liveliness of the excitement of the venues of “Honky Tonk Women” and “Little Queenie”, and the realistic document feeling that is completely different from the sound board.

Furthermore, the fact that it captures the state of the venue before the appearance of the Stones was also excellent in this sound source, and in “recorder 2” it was recorded from the middle of the “2000 Light Years From Home” that already announced the appearance of the Stones. However, I was informed that the recording started before it sounded, and that it was the Beatles’ “Don’t Bother Me” that was being played there (a bitter song selection, lol). It was also valuable to be lost.
And although it was proved on the sound board, Mick, who was singing unrestrainedly at the Perth, commonly known as “HAPPY BIRTHDAY NICKY” show two days ago, was sharp on this day. The vividness of his tireless hyper shout echoing in the venue will be a big shock to those who have only heard this day on the sound board. Of course, since it is a monaural recording, it is also a sound source that you can enjoy playing from speakers rather than headphones.
Furthermore, it is also real that there is a skirmish from around “Love In Vain” where female customers near the taper scream “sit” to the audience in front of them. Still, the fact that the excitement and such scenes are captured without falling into a balance that hinders the performance is also a big attraction of this sound source. And after all, the value of this sound source hasn’t faded since the two songs from the beginning and the end of the live of “Brown Sugar” couldn’t be put on the PA sound board. Another side sound source that was overlooked on the first day of Sydney, which realistically conveys the “realism” and “momentum of performance” that are the advantages of audience recording, is a marvelous upgrade!