Rolling Stones / Atlanta 1981 / 2CD

Rolling Stones / Atlanta 1981 / 2CD / Non label

Fox Theatre, Atlanta, GA, USA 26th October 1981 SBD

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There are already video and radio broadcasts, and the sound board from PA out can cover most of the performances. The Rolling Stones’ 1981 American tour was blessed with sound sources. It was more than 10 years ago that a series of PA-out soundboard leaks were realized. Of course, many items were created, but it is nostalgic now that the sound sources that were the basis of them were bought and sold online. It was a dream-like situation that could be called mass excavation. As a result, it was the most blessed time of the Stones Tour from 1969 to 1982. Thanks to that, the significance of the rear tie release “STILL LIFE” has completely diminished.
The Atlanta Fox Theater on October 26th stood out among the series of soundboards that appeared at that time. As you can see from the venue name, the secret gig at the theater was held only once during the tour. Nevertheless, there was an audience recording on this day, which pleased the enthusiast before the sound quality, but it was surprising that it was excavated until this day riding the wave of the SBD outflow rush.
What surprised me in another sense from this sound source was that the PA-out sound board, which exposes the performance of the basic band, had a haco-like texture that was different from that of the stadium show. It’s interesting because the presence of each instrument is closer to closing than the SBD that recorded the stadium. If you think about it, the PA settings are fundamentally different between the stadium and the theater. In that case, it is natural that the sound quality of the soundboard recording via PA will be different.

This sound source has a unique presence among the 1981 SBDs, but the sound quality was different from the SBDs of other days. Because, from the start of the live, the four songs were in a veiled state. In the DAC “ATLANTA FOX THEATER” (hereinafter referred to as “already-released board”), which was released in the rear tie from the outflow of this sound source, we are trying to eliminate this discomfort as much as possible (naturally at that time). Because of its harmful effects, hiss had become better.
In addition, the state that the pitch went up from the middle and the tape was twisted as the recording progressed, which was seen in some of the series of 1981 SBDs, was also seen in this sound source, and it was the second cassette exchange “All Down”. The twist was noticeable after “The Line”. These problems had been neglected in the existing version, but at the time of this release, we went back to the original sound source that was on the market at that time, and Graf Zeppelin thoroughly brushed up those problems. Above all, the twisting of the tape that occurred in the latter half of the live was a considerable stress in listening, so even if this is resolved, it is considerably easier to hear.
In addition to adjusting the pitch rise that was noticeable from the middle of the live, the cut that occurred when changing the cassette in the middle of “Let Me Go”, which is a SBD specialty in 1981, was the previous “All Down”. Both cuts are precisely supplemented from the audience recording on the same day. Listening to this part reminds me of the gratitude that the precious theater gig was left in SBD. The 1978 pasic is the best example, but it is exceptional that their theater gig can be heard on SBD, and the texture unique to PA out is perfect for the gig again.

Because it was a theater gig, the performance content was quite different from that of a normal stadium concert … Rather rough (laughs) There were a series of scenes that made me want to call the Rolling Stones fully open. What is interesting is that the performance is disturbed from “Neighbours” where the veil at the beginning of the recording was unveiled and the outlook was clear. Here, for some reason, the performance was forcibly terminated immediately after the interlude, and Mick, who was dismayed, tried to bring it to the reply and tried to match only Charlie, and it ended as it was without other members riding.
Charlie’s sound disappeared when the performances of “Let Me Go” and “Tumbling Dice” started, probably because the theater gig inserted between the familiar stadium shows had a hard time setting. The trouble of getting rid of it. Especially in the former, it is serious, and the performance at the beginning is rattling. Speaking of rattling, the first half of “Beast Of Burden” or the final stage of the finale “Jumping Jack Flash” seems to pass through rattling and become messy, and one month has already passed since the tour, rather suddenly. It’s really interesting because you can hear scenes everywhere that make you feel confused when you return to the small venue.
And this day is also a valuable record as the day when Chuck Leavell, who is still responsible for Stones support, jumped in and participated in the Stones stage for the first time. It is refreshing that Mick introduces “Also keyboard” here, and his member introduction, which is now commonplace, is clearly audible because it is an SBD.
The precious PA out sound board has been brushed up. When I heard this, I played “Street Fighting Man” instead of “Satisfaction”, which was an irregular end, and it was a terrible performance throughout. In addition, a new friend (= Rivel) is invited to the stage, which is a literally unique gig that is completely different from a normal stadium show. It’s a soundboard album as if you were saying, “Today it’s our turn to entertain!”

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★ (Remastered memo) REMASTERED BY GRAF ZEPPELIN

★ SB part is pitch and band / volume adjustment

★ Furthermore, the tape twist that is scattered after the cut of All Down The Line is corrected as appropriate.

★ The recording time is quite different from the existing DAC board, but it is judged that the pitch of the DAC is high.

★ It’s a little bit sloppy in the early stages (when The Whip Comes Down), but on the contrary, in the existing DAC board, the high range is too high and the hiss is excessive (up to the count of 2-5 songs).

Also, there is probably a tape connection immediately after the count at the beginning of “Neighbours” due to the high frequency raising processing work (his suddenly drops here).

There is no connection etc. in this board.

ただでさえ映像やラジオ放送が存在し、なおかつPAアウトからのサウンドボードでほとんどの公演が網羅出来てしまうのではないか？と思えるほど音源に恵まれたローリング・ストーンズの1981年アメリカ・ツアー。一連のPAアウト・サウンドボードの流出が実現したのは今から10年以上前のこと。当然多くのアイテムを生み出したものですが、それらの元になった音源がネット上で売買されたのも今となっては懐かしい。まさに大量発掘と言える夢のような状況でした。結果として69年から82年までのストーンズ・ツアーにおけるもっとも音源に恵まれた時期となったのです。おかげでリアタイ・リリースである「STILL LIFE」の意義がすっかり薄れてしまう弊害も起きてしまったのですが。
その時に登場した一連のサウンドボードの中において異彩を放ったのが10月26日のアトランタ・フォックス・シアター。その会場名からも解るように、ツアー中にたった一回だけ敢行されたシアターでのシークレット・ギグ。にもかかわらずこの日はオーディエンス録音が存在し、音質以前にマニアを喜ばせていたものですが、例のSBD流出ラッシュの波に乗ってこの日まで発掘されたことは驚きでした。
この音源から別の意味で驚かされたのは、基本バンドの演奏がむき出しになるPAアウトのサウンドボードでもスタジアム・ショーとは違うハコっぽい質感がちゃんと捉えられていた事。やはりスタジアムを記録したSBDよりも各楽器の存在感がクローズに迫ってくるから面白い。考えてみればスタジアムとシアターではPAセッティングが根本的に違う訳です。そうなればPAを経由したサウンドボード録音の音質に違いが現れるのも当然の事ではないかと。

そんな81年SBDの中でも特異な存在感を放つ本音源ですが、音質がまた他の日のSBDと違っていました。というのもライブ開始から4曲はベールをまとったようなコモリ気味な状態となっていたのです。本音源を流出からリアタイでリリースされていたDACの「ATLANTA FOX THEATRE」（以下“既発盤”と称します）においてはこの違和感を少しでも解消させようとハイ上げさせており（当時としては当然の処理かと）、その弊害からヒスがマシマシとなってしまっていたのでした。
さらに一連の81年SBDのいくつかで見られた、途中からピッチが上がり、さらに録音が進むとテープのヨレが生じるといった状態が本音源でもみられ、二回目のカセット交換に当たった「All Down The Line」以降でヨレが顕著となっていました。こうした問題が既発盤ではおざなりになっていたのですが、今回のリリースに際しては当時出回った元音源に立ち返り、それらの問題をGraf Zeppelinが徹底的にブラッシュアップ。中でもライブ後半に生じていたテープのヨレは聞き込む上で相当なストレスとなっていたので、ここが解消されただけでも相当に聞きやすくなっています。
さらにライブ中盤から顕著だったピッチの上昇もアジャストしてくれたのはもちろん、81年SBD名物である「Let Me Go」の途中でカセット面替えに当たって生じたカット、先の「All Down～」でのカットはどちらも同日のオーディエンス録音から緻密に補填。この個所を聞くと貴重なシアター・ギグがSBDで残されていたことの有難みを改めて痛感させてくれます。78年のパサイックがその最たる例でしょうが、やはり彼らのシアター・ギグがSBDで聞けるというのは格別ですし、PAアウトならではの質感がまたギグに打ってつけ。

シアター・ギグということで演奏内容も通常のスタジアム・コンサートと比べると随分違う…というより荒っぽく（笑）これぞローリング・ストーンズ全開と呼びたくなる場面が続出。何が面白いって、録音当初のベールが取れて見通しの晴れた「Neighbours」から演奏が乱れるという。ここでは何故か間奏の直後に演奏が強制終了してしまい、呆気にとられたミックがリプライズに持ち込もうとしてチャーリーだけ合わせようとするもむなしく、他のメンバーが乗らずにそのままおしまい。
さらにやり慣れたスタジアム・ショーの間で差し込まれたシアター・ギグがむしろセッティングに苦労してしまったのか、「Let Me Go」や「Tumbling Dice」において演奏が始まった際にチャーリーの音が消えてしまうというトラブルが。特に前者ではそれが深刻で、序盤の演奏がガタガタ。ガタガタと言えば「Beast Of Burden」の前半、あるいはフィナーレ「Jumping Jack Flash」の終盤などはガタガタを通り越してグチャグチャになってしまいそうなほどで、既にツアーから一か月が経過し、むしろ急に小会場に戻ったことで戸惑っているかのような場面が随所で聞かれるから面白いことこの上ない。
そしてこの日は現在もストーンズ・サポートの重責を担うチャック・リーヴェルが飛び入りで初めてストーンズのステージに参加した日としても貴重な記録。今では当たり前となった彼のメンバー紹介も、ここではミックが「Also keyboard」と紹介しているのが新鮮ですし、なおかつSBDですので明瞭に聞き取れる。
その貴重なPAアウト・サウンドボードがブラッシュアップ。こうして聞いていると「Satisfaction」抜きで代わりに「Street Fighting Man」を演奏するというイレギュラーな終盤、さらに全体を通しての破天荒な演奏ぶり。おまけに新しい友人（＝リーヴェル）をステージに招き入れるなど、通常のスタジアム・ショーとはまるで違う、文字通りの異色なギグ。それはまるで「今日は俺たちが楽しませてもらう番だぜ！」と言っているかのようなサウンドボード・アルバム！

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★（リマスター・メモ）REMASTERED BY GRAF ZEPPELIN

★SBパートはピッチと帯域・音量調整

★さらにAll Down The Lineのカット以降に散見されるテープヨレを適宜補正｡

★既発DAC盤とだいぶ収録時間が異なりますが､DACのピッチが高いと判断

★序盤(When The Whip Comes Downあたり)などでいくぶんコモリ気味ですが､既発DAC盤では逆に､高域の出し過ぎでヒス過大(2-5曲目カウントまで)｡

また恐らく高域上げ処理作業に伴う”Neighbours”冒頭のカウント直後にテープの繋ぎあり(ここで突然ヒスが下がる)

今回盤では繋ぎ等はなし｡

Disc 1 (60:19)
01. Take The A Train
02. Under My Thumb
03. When The Whip Comes Down
04. Let’s Spend The Night Together
05. Shattered
06. Neighbours
07. Black Limousine
08. Just My Imagination
09. Twenty Flight Rock
10. Let Me Go ★2:28-2:51 Aud補填
11. Time Is On My Side
12. Beast Of Burden
13. Waiting On A Friend
14. Let It Bleed

Disc 2 (57:01)
01. You Can’t Always Get What You Want
02. Band Introductions
03. Little T & A
04. Tumbling Dice
05. She’s So Cold
06. All Down The Line ★2:49以降Aud補填
07. Hang Fire ★0:00-0:22Aud補填
08. Miss You
09. Start Me Up
10. Honky Tonk Women
11. Brown Sugar
12. Street Fighting Man
13. Jumping Jack Flash

SOUNDBOARD RECORDING