Rolling Stones / Boston 1969 2nd Show / 1CD

Rolling Stones / Boston 1969 2nd Show / 1CD / Non Label
Live at Boston Garden, Boston, MA, USA 29th November 1969 (2nd Show)

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With regard to the Rolling Stones items, for which the long-awaited exhibition has also started, the release of the sound source from the 1973 Winter Tour has continued so far. But this time a long time the item from the 1969 American tour will appear. It was a great time to lose in ’72 and ’73 in their live history, but this time we’re releasing the November 29 Boston show. The show is held twice a day, but the sound quality is excellent and it is the second show that is sufficient for release on this limited press CD. It was a well-known sound source among manias in the middle game of the 69’s American Tour. The rare sound source recorded by the BootlegerTM OQ team’s dub, even in the area of ​​Oakland and San Diego, is a sufficiently high level for 1969 audience recording, and several items have been released in the past is.
It is the familiar name of the sound source that was recorded, Joe Maloney. As a result of the sound source by him spread widely in the 21st century, the DAC label “SOME SATANIC TOUR” based on it is considered to be the best. More than a decade has passed since the sound source distribution and release, and it was the first generation copy of the Maloney sound source that was newly added last year when this release was released. It was the familiar Krw_co that published it. In terms of sound quality, the previous version is of sufficiently high quality, and this version does not necessarily have a dramatic upper feeling, but the natural degree is clearly improved. The original sound source was accompanied by a major drawback that the pitch was extremely raised when copied from the master, but it was also precisely adjusted when released. However, in order to respect the high sound quality unique to Maloney, no extra equalization etc. have been added.
However, it is the first sound source in the recording by Maloney living in Boston, and the vintage feeling that there is 69 years combined is attractive there, conversely speaking it is not the area of ​​Oakland or San Diego, but overall freshness It is a recording that can be felt coarser than.

Still this is a name recording that you can listen to enough, but what you say is full of what you listen to. I think that the 69-year tour is divided into “before MSG” and “after MSG” in which the atmosphere of the performance was recorded for live album, but for this day it is a highly complete performance just after MSG The stage goes on in the middle. However, in the third of “Sympathy For The Devil” (the “Kenydi”), Mick sang the melody in an unstable manner, whether it was messed up with the melody up to the second, or the monitor was out of order Because of that, as usual shouts were too few and finished without boiling down. However, it was Taylor who knocked down with great play as if reading the air. Unlike in the first half of the tour, he came to be able to play a solo, too, is a sight only after MSG.
Mick and Keith are two songs played by only two people, but for some reason, it is very valuable to play in the form that added a pickup to a 12-string acoustic guitar only for this day (And the atmosphere is pastoral). Because this form of performance becomes a regular style in the 70-year European tour, it is because only Boston was trying it in ’69. In addition, the scene where Mick screams like a roar of Indians after finishing the performance of “Prodigal Son”, which was not heard in the items of the past.
But did not his fortune be limited to this day? This time, Mick starts to blow the harmonica to start “Midnight Rambler”, but the trouble is that every time he plays a sound, howling sounds and the performance can not start. It is an unforeseeable problem with the American tour of 72 and 75 years, but it is one of the PA problems that could have happened in 69 years. However, the performance itself is wonderful, and here too, the strength of the MSG uniqueness is overwhelmed. And Charlie’s Basdora play that was won with “Live With Me”, which was remarkable on the first day of MSG, was a series of consecutive strikes from that day’s interval play, while here in Boston I’ve been stroking from the very end of the day Please listen to the wonderful Charlie’s footsteps.
After all MSG Stones’s performance is really high level, it is a real document by Maloney’s famous recording that the band itself is in excellent condition here in Boston. By the recording of the pedigree-written version of the first generation, it is recorded to the scene of the first appearance slightly, but it is suitable to be called the new definitive edition of Boston 69. At the same time, while including the happenings (all due to Mick is a laugh), the first time the band played with MSG tension is really great!

★ Fixed about 50% higher pitch for semitones.

★ After “Prodigal Son”, this sound source is recorded only slightly longer.

この音源を録音したのはおなじみの名テーパー、ジョー・マロニー。彼による音源が21世紀に入って広く流通した結果、それを元にしたDACレーベルの「SOME SATANIC TOUR」がベストだとされています。その音源流通やリリースから十年以上が経過し、今回のリリースに際して元にしたのは昨年新たに登場したマロニー音源のファースト・ジェネレーション・コピー。それを公開してくれたのはおなじみKrw_co。音質的には過去のバージョンも十分に高音質なものであり、今回のバージョンが飛躍的なアッパー感を兼ね備えている訳ではないのですが、明らかにナチュラル度は向上。また元の音源はマスターからコピーされた際にピッチが極端に上がってしまうという大きな欠点を伴っていましたが、それもリリースに際しては緻密にアジャスト。それでいてマロニーならではの高音質を尊重すべく、余計なイコライズなどは一切加えておりません。

それでも十分に聞き込めるこの名録音ですが、何と言っても演奏内容は聞きどころが満載。69年ツアーは演奏の雰囲気がライブアルバム用の収録が行われた「MSG前」と「MSG後」に分けられるかと思いますが、この日に関しては正にMSG後ならではの完成度の高い演奏の中でステージが進みます。ところが「Sympathy For The Devil」の三番(「ケネディ」のくだり)でミックが二番までのメロディとごっちゃにしたのか、あるいはモニターの調子が悪かったのか、ともかくメロディを不安定に歌ってしまったのをきっかけとして、いつものようなシャウトも少なめで煮え切らずに終えてしまったのです。ところがその空気を読んだかのように素晴らしいプレイで弾き倒してくれたのがテイラー。ツアー前半と違って彼もソロを弾かせてもらえるようになったのもMSG後ならではの光景かと。
またミックとキースが二人だけで演奏する二曲ですが、何故かこの日に限って12弦アコースティック・ギターにピックアップを付けた形で演奏(しかも雰囲気は牧歌的)しているのがとても貴重。何故なら、この演奏形態は70年のヨーロッパ・ツアーにおいてレギュラーなスタイルとなるのですが、69年でそれを試みているのはボストンだけだったからです。おまけに「Prodigal Son」の演奏を終えたところでミックがインディアンの雄叫びのような奇声を発する場面、これは過去のアイテムでは聞かれなかったもの。
それにしても彼の運勢はこの日に限ってついてなかったのでしょうか?今度は「Midnight Rambler」を始めるべくミックがハーモニカを吹き始めるのですが、困ったことに彼が音を鳴らすたびにハウリングが鳴って演奏が始められません。72年や75年のアメリカ・ツアーでは考えられないトラブルですが、69年には起き得たPAトラブルの一つでしょう。しかし演奏自体は素晴らしく、ここでもMSG後ならではの力強さが冴え渡っています。そしてMSG初日で顕著だった「Live With Me」で冴えわたるチャーリーのバスドラ・プレイはその日が間奏辺りから踏みまくりの連打だったのに対し、ここボストンでは一番の終わりからドコドコと踏んでいるのがお見事、素晴らしいチャーリーの足技を聞いてください。


★“Prodigal Son”終了後は、今回の音源の方がほんの僅かだけ長く収録している。


1. Intro 2. Jumping Jack Flash 3. Carol 4. Sympathy For The Devil 5. Stray Cat Blues
6. Love In Vain 7. Prodigal Son 8. You Gotta Move 9. Under My Thumb 10. Midnight Rambler
11. Live With Me 12. Little Queenie 13. Satisfaction 14. Honky Tonk Women 15. Street Fighting Man

Mick Jagger – Lead Vocals, Harmonica Keith Richards – Guitar, Backing Vocals
Mick Taylor – Guitar Bill Wyman – Bass Charlie Watts – Drums
Ian Stewart – Piano

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