Rolling Stones / Honolulu 1973 2nd Night / 1CD

Rolling Stones / Honolulu 1973 2nd Night / 1CD / Non label
Live at Honolulu International Center, Honolulu, Hawaii 22nd January 1973 (2nd Show)

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Stones January 22, 1973 The second show in Honolulu is an audience recording excavated almost 20 years ago. The appearance of this sound source has overturned the stone data of the Honolulu performance that had been up until then, and it was a significant excavation that revealed that only two performances were performed this day (the previous day was only once). Moreover, this sound source is also an easy-to-hear quality similar to the audience recordings of the other two stages, and the VGP “BLUE HAWAII” released at that time was the definitive edition immediately. Also, a box called “SWEET TROPICAL SUN” that has already released the sound source to be released this time to all new sound sources for three days including this day is also new in memory.
However, until now, “BLUE HAWAII” is still the best, and although it was also a very good sound quality, it still had 90’s treatment. Now 20 years have passed since the release of such already released boards, a new upper version will finally appear. After all the already-released board is the finish where the high region throughout the whole stands out, and of course the original sound was not so crisp. It is a sound source that the master had already appeared 20 years ago, but when the new CD is turned, we will also review the sound source. In fact, problems were spotted more than the first show.

At first, since the sound was muffled between “Happy”, I improved this by equalization. That alone makes it easier to hear clearly compared to the already released board. The original stereo sound is an attractive sound source, but it is easier to hear when the goodness of omission is added there. But that’s not all. Even if the pitch starts to rise from the middle of “Bitch” to nearly a semitone, it is perfectly adjusted. This area seems to have been a mania that had been noticed in the already released board, but even if the instability that had occurred in the finer dropouts or “Gimme Shelter” interspersed, it was thoroughly adjusted. You’ll be amazed at the fact that it’s easier to hear this time because the source is a sound source with excellent sound quality. In particular, “Gimme Shelter” interlude is also a part of Taylor’s story, and it has evolved into a more listenable state, as the problems that had been happening there are swept away.
And it is a phenomenon that was consistently seen in the audience recording of the Honolulu performance, but the condition that the clearness of the performance is so so instead of Mick’s voice being close. With regard to this time, the difference in sound quality that had been occurring in the first half and the second half has been resolved by the previous equalization, and the details of the performance have also improved prospects. Correcting the localization of the sound image that had been turned to the right as the last shot of such adjustment. It was finished to enjoy without feeling stress even listening with headphones.

As for the performance, it seems that this is the last stage of Honolulu, and that the discontinuation of the Japanese performance has suddenly made it clear for Australia until February, or that Mick’s tension has risen even higher than before (( By the way, work for the album “GOATS HEAD SOUP” was done in LA using the off)).
The interesting thing is that “It’s All Over Now”, which has been playing swayingly in the first show, has been reminiscently played, so as to make it possible to foresee “It’s Only Rock’n Roll” later It is interesting to have a good atmosphere. It may be said that the completed form of the limited-time arrangement exhibited only in Honolulu is here.
Also, as a fact that tends to be overlooked, “Dead Flowers”, which was also exhibited in Honolulu three days alike, also shows excellent results any time, and it is also missed that it showed the best finish this time not. Especially, Taylor’s play that I did in the interlude was very wonderful, and this time is more impressive than “Gimme Shelter” interlude. Of course, it is not an aggressive phrase like the same song, but the play composed of relaxed phrases is still excellent. Since the time of the 1971 marquee and leis, Taylor has played a short but flashy phrase in the same song, but it is tempting to assert that the top point is this performance.
And it is “Sweet Virginia” that is also played this time, but it is also interesting that “Eleako feeling” that Keith plays with attaching a pickup to acoustic guitar is captured with a more realistic feel than the sound sources of other times. . Moreover, it is good to have a lively and lively performance of the performance. Honolulu’s January 22nd show which tended to be overlooked in recent years (albeit 20 years ago) because it was excavated. The upper version will finally appear. Please enjoy Honolulu’s final performance with a clearer, natural, yet finished finish!

(For pitch processing)
The beginning is correct, but it becomes faster gradually from the early stage to the late stage of Bitch, and fixed since it is about 20% faster than semitones after that. The range of the error + about, but corrected.

一方ストーンズ1973年1月22日ホノルルのセカンド・ショーはほぼ20年前に発掘されたオーディエンス録音。本音源の登場によってそれまであったホノルル公演の碇石データが覆され、この日だけ二回公演を行っていた(前日が一回のみ)ことが明らかとなった意義ある発掘でした。しかもこの音源、他の二回のステージのオーディエンス録音と同様の聞きやすいクオリティでもあり、当時リリースされたVGP「BLUE HAWAII」が即座に決定版とされたものです。またこの日を含む三日間すべての新音源に今回リリースされる既発音源をカップリングさせたESVD「SWEET TROPICAL SUN」なるボックスも記憶に新しいかと。
しかし現在に至るまで「BLUE HAWAII」がベストであることは変わりなく、確かにそれも非常に良好な音質ではあったものの、やはり90年代的トリートメントが施されていた。そんな既発盤のリリースからも20年が経過した今、ようやく新たなアッパー版が登場します。やはり既発盤は全体を通しての高域が目立つ仕上がりであり、もちろん原音はそこまでシャリッとした音ではなかった。既に20年前の時点でマスターが登場していた音源ではありますが、新たなCD化に際してこちらも音源の見直しを敢行。実はファースト・ショー以上に問題が散見されました。

まずは「Happy」までの間で音がこもり気味でしたので、これをイコライズにて改善。それだけれでも既発盤と比べてはっきり際立つ聞きやすさが生まれています。元々ステレオ感が魅力の音源ですが、そこに抜けの良さが加わったことでいよいよ聞きやすく。しかしそれだけではありません。「Bitch」の途中から上がり始めて半音近くまで高まるピッチの狂いまでも完璧にアジャスト。この辺りは既発盤で気付かれていたマニアがいたかと思われますが、さらに細かなドロップアウトや「Gimme Shelter」の間奏に生じていた不安定さまでも徹底的にアジャスト。元が音質に優れた音源ゆえ、今回さらに聞きやすくなっていることに驚かされることでしょう。特に「Gimme Shelter」間奏と言えばテイラーの聞かせどころでもあり、そこで細かいながらも生じていた問題が一掃されたことで、よりじっくりと聞き込める状態へと進化しています。

演奏に関してはこれがホノルル最後のステージであるということ、さらに日本公演の中止によって2月のオーストラリアまでのオフが急遽確定したからか、ミックのテンションがそれまでより一段と高くなったかのように見受けられます(ちなみにオフを使ってLAでアルバム「GOATS HEAD SOUP」用の作業が行われました)。
面白いのはファースト・ショーで勢い余ってハチャメチャな演奏が繰り広げられていた「It’s All Over Now」が一転して抑え気味に演奏された結果、後の「It’s Only Rock’n Roll」を予見させるような雰囲気を漂わせているのが面白い。ホノルルだけで披露された期間限定アレンジの完成形がここにあるのだと言えるかもしれません。
また見過ごされがちな事実として、同じようにホノルル三日間で披露されていた「Dead Flowers」がまたどの回でも素晴らしい出来を示しており、それがこの回で最高の仕上がりをみせたことも聞き逃せません。特に間奏で聞かせたテイラーのプレイが非常に素晴らしく、この回に関しては「Gimme Shelter」の間奏よりも印象的なほど。もちろん同曲のようなアグレッシブなフレーズではないのですが、それでも伸びやかなフレーズで構成されたプレイはお見事。1971年のマーキーやリーズの頃からテイラーは同曲の間奏で短いながらも閃きのあるフレーズを聞かせていましたが、その頂点がこの演奏だと断言したくなるほどなのです。
そしてこの回でも演奏されている「Sweet Virginia」ですが、キースがアコースティックギターにピックアップを付けて奏でる「エレアコ感」が他の回の音源よりもリアルな感触で捉えられているのがまた面白いところ。しかもその演奏のゆったりとしつつも活気のある演奏もいい。近年(といっても20年前ですが)発掘されたこともあって見過ごされがちだったホノルル1月22日のセカンド・ショー。そのアッパー版がようやく登場します。よりクリアーでナチュラル、なおかつ整えられた仕上がりでホノルル最終公演をお楽しみください!



1. Intro
2. Brown Sugar
3. Bitch
4. Rocks Off
5. Gimme Shelter
6. It’s All Over Now
7. Happy
8. Tumbling Dice
9. Sweet Virginia
10. Dead Flowers
11. You Can’t Always Get What You Want
12. All Down The Line
13. Midnight Rambler
14. Rip This Joint
15. Jumping Jack Flash
16. Street Fighting Man

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