Rolling Stones / Atlanta 1989 / 4CD

Rolling Stones / Atlanta 1989 / 4CD / Non Label
Translated Text:
Live at Grant Field, Atlanta, GA. USA 21st November 1989

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Despite the fact that Rolling Stones’ resurrection and a long tour have brought big topics, there are fewer or fewer items than the US tour in 1989. If you think about what happened only with that topic and what was done on a long schedule, is not it a strange situation? For example, in November, there are only decent items in the Dallas show on 11th when our shop released the definitive version of Pro Shot video “DALLAS 1989 2ND NIGHT”. To tell the truth, another item was issued from the November 1989 process. It’s quietly. That is the November 21 Atlanta performance. A CD called “BACK IN BUSINESS” was released for the sound source of this day. I brought out the brand called Big Music of Kiss The Stone label affiliated with the world in the first half of the 1990s.
Originally in the 1989 US tour, the pace from the start of the tour to the appearance of the item was late, and in addition it was also hit by the excessive period from LP to CD, I think that only the release was released. On the other hand, “BACK IN BUSINESS” was released quietly a few years after the end of the tour. At that time there were also outflow video of Atlantic City’s pro shot video and sound board, as well as several performances including Dallas ahead of us, so now we recorded the audience recording “BACK IN BUSINESS “got a lot of attention the timing was very bad.
The reason that I made the impression of “BACK IN BUSINESS” worse beyond the recording state anyway. In addition to being recorded with the pitch still late, there are a lot of minus points where several songs in the latter half of the live are not recorded. However, the sound quality itself was pretty good, and as an audience recording for the 1989 US tour, it was a high quality to be ranked to the top without a multiplier. Among the 89-year tours that were only major places, surprisingly on sound quality was amazing. That is why it was hard for me to be in the first place in the recording state, so it was an item of disappointment that only a few maniacs were focused on.

Recently, however, another sound source for audience recording that captured this Atlanta performance appeared. It was familiar to JEMS who uploaded it. That’s why the sound quality is truly a quality. It makes us feel the era in a sense that sound quality of high frequencies stands out in an audience recording at the outdoor venue with cassette anyway. Also, there is only the sound source that the JEMS team has unearthed, and a surprising on-sound image is wonderful even while recording at a big venue!
Just during the period when the tour itself entered the third month from the start, the performance is no longer a stone. In the history of Stones’ live, in 1989 when it was said that it was the beginning of the era when the most shrewling performance was heard. Nevertheless, the tightness of the performance of this day stands out. Although it seems to have been forgotten now, at the beginning of the tour in 1989, the most common thing was Charlie’s drumming. Rather than 50 years ago looking back to elderly, it was said that “Charlie can beat the drum?”
However, as soon as the tour begins, it is clearly seen that he is nothing different from him, even on the contrary, he is able to hear even better drumming. “Dead Flowers” etc, which became the rare number of this day, is probably the best example.
On the other hand, as Mick added a new technology and a large number of support members upon restarting the tour for a long time, it is also a fact that the gravity of the guitar has diminished compared to the live sound of the previous Stones. In “Mixed Emotions” which called a big topic as a resurrected single, Matt Clifford’s synth sound is ringing with the most prominent balance is a typical example. Similarly to arranging “Bitch” to play the keyboard riff instead of guitar. When such a sound is now it sounds like a nostalgic feeling owing to the fact that time has passed.

On the other hand, although this is a new sound source by JEMS, the point that the closeness of the sound image is a big appeal while the surrounding excitement is noisy all the time, the taper itself was also excited, the minus point that the sound image is easy to swing is can not deny. For example, “Dead Flowers” becomes a big chorus, and the scenery like American is caught. In that respect, the sound source of the “BACK IN BUSINESS” mentioned above is quite calm recording condition, the stress on listening is much lower than JEMS sound source. So in this release, we remastered “BACK IN ~” on Disc-3 & 4, and compensated with JEMS sound source for unrecorded songs, so as to record both good versions of the songs as well It was.
Of course, I adjusted the pitches too low which is the biggest disadvantage thoroughly. Moreover, by equalizing which improves omission of the sound quality which was slightly dark, it was evolved to the upper version which was able to enjoy “BACK IN ~” which was originally boasting excellent quality even in the 89 years tour! It seems now that there are more manians who do not know “BACK IN ~” itself, but in the 1989 tour, the schedule of November is surprised that the audience recording existed so much “can listen” There is no doubt. If you are a core maniacer, you will be relieved from the trouble hearing correctly the pitch of “BACK IN ~” (laugh).
In this way, the limited press release of this time will be a style of four-piece set which coupled two kinds of sound sources in Atlanta performance. Both Audience Recordings are still very good sound quality, but since their recording state and sound quality are completely different, I will assure you that you can listen and compare thoroughly. And more than anything, each disc realized recording that made full use of the characteristics of both sound sources. JEMS sound source has no missing songs, but from the cassette recording, it seems that this time it was supplemented with “BACK IN BUSINESS”, which occurred between several songs, this is a good deal!

ローリング・ストーンズの復活と久々のツアーということが大きな話題を呼んだ割に、アイテムが思いのほか少ないのが1989年のアメリカ・ツアー。あれだけの話題を振りまき、しかも長期の日程で行われたことを考えると、何とも不思議な状況ではないでしょうか。例えば11月などは当店がプロショット映像の決定版「DALLAS 1989 2ND NIGHT」をリリースした11日のダラス公演しかまともなアイテムが存在しないというありさま。実を言うと89年11月行程からは、もう一つアイテムが出されていたのです。それもひっそりと。それが11月21日のアトランタ公演。この日の音源は「BACK IN BUSINESS」というCDがリリースされていました。出したのは90年代前半に一世を風靡したKiss The Stoneレーベル系列のBig Musicというブランド。
元々89年のアメリカ・ツアーはツアーの開始からアイテムが登場するまでのペースが遅く、おまけにLPからCDへの過度期にも当たってしまったことから、当初はLPでしかも音質の冴えないアイテムばかりがリリースされていたように思います。反対に「BACK IN BUSINESS」はツアー終了から数年が経過したところでひっそりとリリースされていました。もうその頃にはアトランティック・シティのプロショット映像やサウンドボード、さらには先のダラスを始めとしたいくつかの公演の流出映像が出回っていたことから、今になってオーディエンス録音を収録した「BACK IN BUSINESS」が注目を浴びるにはタイミングが非常に悪かった。
それ以上に「BACK IN BUSINESS」の印象を悪くしたのは、何と言っても収録状態でしょう。ピッチが遅いままで収録されていた上に、ライブ後半の数曲が未収録というマイナス・ポイントの多さ。しかし音質自体はかなり良好であり、89年アメリカ・ツアーのオーディエンス録音としては、掛け値なしに上位へランクされるべきクオリティの高さだったのです。大会場ばかりだった89年ツアーの中では、驚くほどオンな音質が素晴らしかった。それだけに収録状態のまずさが如何ともしがたく、そのせいでごく一部のマニアにしか注目されなかった悲運のアイテムだったのです。

ところが、いざツアーが始まってみればそれまでと何ら変わりのない、それどころかさらに快調なドラミングを聴かせてくれる彼の姿がはっきり捉えられています。この日のレア・ナンバーとなった「Dead Flowers」などは、その最たる例でしょう。
一方で久々のツアー再開に際し、ミックが新たなテクノロジーと大量のサポート・メンバーを加えた結果、それまでのストーンズのライブ・サウンドと比べてギターの比重が薄れてしまったのも事実。復活シングルとして大きな話題を呼んだ「Mixed Emotions」においては、マット・クリフォードのシンセ音が一番目立ったバランスで鳴っているのがその典型的な例でしょう。「Bitch」に至ってはギターの代わりにキーボードがリフを弾くアレンジも同様。そんなサウンドが今となってはむしろ懐かしく響くのも時間が経過したおかげかと。

一方でJEMSによる今回の新音源ですが、音像の近さが大きな魅力である一方で周囲の盛り上がりが終始騒がしく、またテーパー自身も盛り上がっていたのか、音像が揺れやすいというマイナス・ポイントがある点は否めない。例えば「Dead Flowers」が大合唱になるなど、何ともアメリカらしい光景が捉えられている。その点、先に挙げた「BACK IN BUSINESS」の音源はグッと落ち着いた録音状態であり、リスニング上のストレスはJEMS音源よりも格段に低い。そこで今回のリリースですが、Disc-3&4には「BACK IN~」をリマスターし、未収録だった曲はJEMS音源で補填することによって、両者のいいとこ取りしたようなバージョンも同時に収録と相成りました。
もちろん最大の欠点である低すぎたピッチを徹底的にアジャスト。さらには若干ながら暗めだった音質の抜けをよくするイコライズをほどこしたことにより、元々89年ツアーの中でも優良クオリティを誇った「BACK IN~」が俄然楽しめるアッパー版へと進化を遂げたのです!今となっては「BACK IN~」自体を知らないマニアの方が多いかと思われますが1989年ツアー、11月の日程にはこれほど「聞き込める」オーディエンス録音が存在していた事に驚かされること間違いなし。よりコアなマニアの方であれば、「BACK IN~」のピッチを懸命に正して聞いていた手間から解放されるという(笑)。
このように今回の限定のプレスCDリリースはアトランタ公演における二種類の音源をカップリングした四枚組というスタイルとなります。どちらのオーディエンス録音も非常に良好な音質であることに変わりはありませんが、その録音状態や音質がまったく異なることから、じっくりと聞き比べが楽しめる音源であると断言いたします。そして何よりも、両方の音源の特性を活かしきった収録がそれぞれのディスクで実現しました。JEMS音源は曲の欠損こそありませんが、カセット録音ということから、いくつかの曲間において生じたカットを今度は「BACK IN BUSINESS」で補填したという、これぞいいとこ取り!
Recorder 1

Disc 1 (73:30)
1. Continental Drift 2. Start Me Up 3. Bitch 4. Sad Sad Sad 5. Undercover Of The Night
6. Harlem Shuffle 7. Tumbling Dice 8. Miss You 9. Ruby Tuesday 10. Angie
11. Dead Flowers 12. Rock And A Hard Place 13. Mixed Emotions 14. Honky Tonk Women
15. Midnight Rambler

Disc 2 (77:38)
1. You Can’t Always Get What You Want 2. Can’t Be Seen 3. Happy 4. Paint It Black
5. 2000 Light Years From Home 6. Sympathy For The Devil 7. Gimme Shelter
8. It’s Only Rock’n Roll 9. Brown Sugar 10. Satisfaction 11. Jumping Jack Flash

Recorder 2

Disc 3 (73:29)
1. Continental Drift 2. Start Me Up 3. Bitch 4. Sad Sad Sad 5. Undercover Of The Night
6. Harlem Shuffle 7. Tumbling Dice 8. Miss You 9. Ruby Tuesday 10. Angie
11. Dead Flowers 12. Rock And A Hard Place 13. Mixed Emotions 14. Honky Tonk Women
15. Midnight Rambler

Disc 4 (77:45)
1. You Can’t Always Get What You Want 2. Can’t Be Seen 3. Happy 4. Paint It Black
5. 2000 Light Years From Home 6. Sympathy For The Devil 7. Gimme Shelter 8. It’s Only Rock’n Roll
9. Brown Sugar 10. Satisfaction 11. Jumping Jack Flash

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