Rolling Stones / In Exotic Honolulu / 1CD

Rolling Stones / In Exotic Honolulu / 1CD / Non Label
Live at Honolulu International Center, Honolulu, Hawaii 22nd January 1973 (1st Show)

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Last month, we released the upper version “HONOLLU 1973 1ST NIGHT” of the Honolulu performance on January 21, 1973 and received favorable reviews, but it is inevitable that the appearance of the upper version is also expected for the next day’s Honolulu performance. We will release the upper version of the performance of January 22 which was held twice this week.
First is the first show on the 22nd. It is a familiar sound source from the old analog boot, and the performance itself is somewhat famous as it is a fine audience recording with a sense of stereo although the sound of Mick is close. Many items have been released under the name of “IN EXOTIC HONOLULU”, but among them the VGP board has been regarded as the best among them (hereinafter referred to as the already released board). However, almost 25 years have passed since the release of it, and now the finish with 90’s-like equalization has come to make the period feel like it is now, but a new in a more natural state The appearance of the item was awaited.
So, in this release, the sound source is the same, but I will return to the master before equalization again and review it. The difference is clear when comparing with “Gimme Shelter” etc., but the already published board has the sound of the cymbal of Giro and Charlie sticking out, but this time it is whammy naturally. Also, this was a problem with the original sound source, but basically the pitch is high, and the problem that it goes up considerably in the second half of the show is precisely adjusted. It seems that the pitch was correct as a matter of course when listening to this version, but the fact is that the pitch deviation in the original sound source was substantial.
On the contrary, from the era of the analog, this sound source had a pitch error, and even with CDs, there were items for which the pitch error could not be corrected or was left unchecked. So this time we have the most ideal release, with a natural yet accurate pitch. The already-released board was fine-tuned with regard to the pitch problem, but with regard to the sound quality, I could not deny the feeling of catching high-pitched sound. As I mentioned earlier, that point has always been a natural condition, so it might be particularly pleasing to the mania who has heard this standard sound source.

And that was also the case the day before, but the series of Honolulu performances have very good performances with unique momentum. However, it does not mean that the previous year’s US tour will be reproduced as it is, nor will it be like the later Australia. If the performance to come to Japan was realized as it was, that momentum would have been reproduced in the Budokan.
Furthermore, it is the rare repertoire “It’s All Over Now” speaking of Honolulu in ’73, but it is this time that it is playing the most chattering performance among three stages. That’s why it has a lot of momentum and it’s also a fun performance, but from the place Mick’s wry smile at the end of the show, that’s the first time that the chatter has come true. This is as if it symbolizes Honolulu that makes you feel unique. Still, “Sweet Virginia” makes us feel the remnants of the previous year’s US tour, but it is also on stage with an acoustic song that matches the hilarious land of Hawaii.
Even in “Midnight Rambler”, the bewitching like in the previous year faded, and it was impressive that it was rather tight and intense. This will revive bewitching again when it comes to autumn Europe, but it seems as if a different kind of tight playing has reflected the pattern of Hawaii. Anyway, it is interesting because the standing position of a bridge between America in 1979, where speedy Stones Rock is superb, and the gorgeous 1979, Europe, is clearly reflected in the performance. In addition, the unique balance of this sound source that Mick’s voice is captured in a large balance doubles the power of hyper performances from the same song onwards.
It is true that the ’72 America or ’73 Europe is a classic period in Stones Live history, but their defeat and tension are higher, but it’s really sloppy and (in some cases) not really a performance. Unique attraction. The exhilarating songs and sounds that Mick sounds in “Jumping Jack Flash” also exhilarating the exhilaration unique to Hawaii. Among such a 73-year-old Honolulu performance, the famous sound source of the 22nd first show that has conveyed its charm from the LP era. An upper version that is well-known for its long-awaited appearance, appeared on the limited press CD. Which of the three shows in Honolulu 1973? If it is said that, from now on.

About pitch
★ Fixed the fact that it was more than 50% slower than the semitone from the beginning, and was late more than a semitone later in the final stage.

先月は1973年1月21日のホノルル公演のアッパー版「HONOLULU 1973 1ST NIGHT」をリリースして好評を博しましたが、そうなると翌日のホノルル公演に関してもアッパー版の登場が望まれるのは必然…ということから今週は都合二回行われた1月22日の公演のアッパー版をリリースいたします。
まずは22日のファースト・ショー。古くからアナログブートでもおなじみの音源であり、演奏自体はやや団子状ながらもステレオ感があってミックの声が近い上質オーディエンス録音として有名なもの。これを「IN EXOTIC HONOLULU」の名の下で多くのアイテムがリリースされてきましたが、その中でもベストとされてきたのはVGP盤(以下、既発盤と称します)。ところがそれのリリースから25年近い歳月が経過し、今となっては90年代っぽいイコライズが施された仕上がりが時代を感じさせるようになってきていただけに、よりナチュラルな状態での新たなアイテムの登場が待たれていました。
そこで今回のリリースに当たっては音源こそ同一ですが、再びイコライズ前の状態のマスターに戻って見直し。「Gimme Shelter」などで聞き比べれば違いは歴然としているのですが、既発盤はギロやチャーリーのシンバルの音色がシャリシャリと突き出していたのに対し、今回は俄然ナチュラルでウォーミー。またこれは元の音源の問題だったのですが、基本的にピッチが高く、それがショー後半になると相当に上がってしまうという問題を緻密にアジャスト。今回のバージョンを聞くと当然のようにピッチが正確だったではと思われるでしょうが、実のところ元音源におけるピッチの狂いは相当なものだったという。

さらに73年ホノルルと言えばのレア・レパートリー「It’s All Over Now」ですが、三回のステージの中でもっともハチャメチャな演奏を繰り広げているのがこの回。その分勢いがあって楽しい演奏でもあるのですが、終えたところでミックが苦笑しているところから、そのハチャメチャぶりが伺えるというもの。これこそ独特の勢いを感じさせるホノルルを象徴するかのよう。それでいて「Sweet Virginia」は前年のアメリカ・ツアーの名残を感じさせますが、これがまたハワイという陽気な土地にマッチしたアコースティック・ソングということでステージ映えしています。
「Midnight Rambler」にしても前年のような妖艶さが一旦薄れ、むしろタイトで激しい演奏となっているのが印象的。これが秋のヨーロッパになると再び妖艶さを復活させるのですが、それとは違ったタイトな演奏ぶりがハワイという土地柄を反映したかのように映ります。いずれにせよスピーディーなストーンズ・ロックを極めた72年アメリカとゴージャスな73年ヨーロッパの架け橋という立ち位置がはっきり演奏に反映されているから面白い。おまけにミックの声が大きなバランスで捉えられているこの音源特有のバランスが同曲以降のハイパーな演奏の迫力を倍増。
確かに72年アメリカ、あるいは73年ヨーロッパはストーンズ・ライブ史におけるクラシックな時期ではあるのですが、それらに負けじとテンションは高め、なのにカラッとしていて(時として)くどくない演奏というのは本当に独特な魅力。「Jumping Jack Flash」でミックが聞かせる奔放な歌いっぷりもハワイならではの爽快さが炸裂。そんな73年ホノルル公演の中でも、LP時代からその魅力を伝えてきてくれた22日ファースト・ショーの名音源。既発盤になかったナチュラルさを前面に押し出した、これぞ待望という名が相応しいアッパー版が限定プレスCDにて登場です。1973年ホノルル三回のショーの中でどれから?と言われたら、まずはこれから。


1. Intro.
2. Brown Sugar
3. Bitch
4. Rocks Off
5. Gimmie 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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