Rolling Stones / Boston 1975 1st Night Joe Maloney Master / 2CD

Rolling Stones / Boston 1975 1st Night Joe Maloney Master / 2CD / Non Label
Boston Garden, Boston, MA, USA 11th June 1975

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　I think Rolling Stones reached the extreme of wildness on stage in the 1975 American tour. That has been transmitted enough from the remaining sound source alone, but Keith himself kneaded cocaine even while he was live in the autobiography (making a dedicated hut behind the stage) The testimony proved that the extreme upper atmosphere of the tour was brought about by drugs. This is the only time that the upper momentum inspired by Cocaine has surpassed the looseness of the 70s Stones sound. Above all, Mick’s song is so magnificent that it can reach the level of screaming, sometimes wild, with the momentum.
　However, Mick is also a human being (laughs) It was in the first half of the tour that sang with the crispness of the upper tone in the foreground, and when the tour reached Madison Square Garden in New York, a paragraph ( Is there a difference in the quality of the yak that can be obtained?) Mick goes back to an upper tone again when it moves to LA where the stuff of that hand spreads. At the end of the tour, Mick’s screaming in the wild became calm.

　The two days of Boston in June can be called the peak of such a 75-year Hyper Mick. Both days Mick is terrific and the wildest of Kirekire is fully open. The two days were recorded by Joe Maloney. First of all, there are two types of audience recording on the first day, “recorder 1” is VGP’s “LUXARY IN BOSTON”, and “recorder 2” is about 15 years ago, at the peak of CD-R sound source trade It spread through items such as VGP’s “BOSTON TEA PARTY” and SCREAMER’s “A FANFARE FOR THE COMMON MAN”.
　However, this month, the familiar Krw_co borrowed a master tape from Maloney and re-transferred the sound source for two days, this is the version, and on the first day this is the first appearance of “ recorder 3 ” The
　All of the past sound sources are stereo audience recordings, and it is still “LUXARY IN BOSTON” of “recorder 1” that has the closest sound image and is easy to hear. However, the title had the problem that it switched to a sound source on another day with poor sound quality in the second half of “Outta Space” and “Jumping Jack Flash”. In that respect, “recorder 2” did not have a big cut in the song, but this time it is difficult to blur the sound image. When it came to the end of the lively stage of the venue, it had fallen to a level where it was no longer possible to know where it was playing.
　However, this time Maloney is the solid sound quality of their monaural recordings, and the sound image is like going between the past two recordings. Therefore, the sound image has a sense of distance, but it is not a blurred balance. It ’s much easier to hear than “recorder 2”. There is no cut of the “Tumbling Dice” intro, which was the only drawback of the sound source. It’s also mono, so it’s really good when played from the speaker.

　Speaking of Boston’s first day in 1975, Miku Miki’s lively Mick is a masterpiece. First of all, with two songs from the opening, Mick is quite a ton, and both songs are screaming or an unusual melody line explodes. Just listening to them will give you the chance to enjoy Miki’s irresistible songs. After that, Mick continued to sing while running out of control, but “Gimme Shelter” fits a little. The 75-year tour always played the role of a live in the first half of the same song, but because he was in such a state, the effect was even greater.
　So he took a break again (bitter smile), Hyper Mick revived from “You Can’t Always Get What You Want”. Once again, I can tell you how to scream and scream, but in front of this intense performance, the audience’s excitement in Boston is tremendous. That was also captured in “recorder 2” in real terms, but here it is also attractive that you can enjoy a sense of realism with a more balanced balance.
　It was Europe in 1973 that performed the stage review of “Doo Doo Doo Doo Doo (Heartbreaker)”, but it was rather a 75-year tour that reached the maturity of the repertoire. In fact, the LA Forum still has a great performance, but here too, the performance started with a tremendous excitement from the intro, and the realism is goose bumper. Mick bursts again at “Midnight Rambler”. It was Charlie’s tremendous drumming that ignited the lead, and he ran through to the end with Mick’s screaming performance like this day.
　It’s been a day that Micky’s spectacular songs have been handed down among manias, but the first day in Boston, where you can enjoy the solid monaural sound unique to Maloney, is also exceptional. It is also a great attraction that its freshness is superior to the past two sound sources, and it can also be said that it was the result of being transferred from the master with technology in 2019. And the point that it is the longest recording that was recorded until the announcement at the end of the performance is also high. Mick is already crazy!

(Remastered Memo))
* Fixed pitch 10%-30% higher than semitones.
★ Sounding bass sounds have been adjusted to give an overall contour.
★ The tape A / B / D side is balanced to the right, so it has been adjusted to the center as much as possible.

★ Joe Maloney Master. The first high-quality sound source.

★ Only the first 50 copies will be released with a sticker with numbering.

Disc 1 (61:22)
1. Intro
2. Honky Tonk Women
3. All Down The Line
4. If You Can’t Rock Me
5. Get Off Of My Cloud
6. Star Star
7. Gimme Shelter
8. Ain’t Too Proud To Beg
9. You Gotta Move
10. You Can’t Always Get What You Want
11. Happy
12. Tumbling Dice
13. Luxury

Disc 2 (70:49)
1. Band Introductions
2. Doo Doo Doo Doo Doo
3. Fingerprint File
4. Angie
5. Wild Horses
6. That’s Life
7. Outa Space
8. Brown Sugar
9. Midnight Rambler
10. It’s Only Rock ‘n Roll
11. Rip This Joint
12. Street Fighting Man
13. Jumping Jack Flash
14. Closing

Mick Jagger – lead vocals, harmonica
Keith Richards – guitar, lead and backing vocals
Charlie Watts – drums
Ronnie Wood – guitar, backing vocals
Bill Wyman – bass guitar
Billy Preston – keyboards backing vocals
Ollie E. Brown – percusion backing vocals