GiGinJapan Artwork of Japanese CDs (mostly) Rolling Stones / Sydney 1973 1st Night Soundboard / 1CD / Non Label
Live at Royal Randwick Racecourse, Sydney, Australia 26th February 1973 *UPGRADE
Play sample :
Despite the existence of the sound board at the end of the winter tour in 1973, it was “SYDNEY” that the audience recording of the same day was intentionally released before the sound board in anticipation of the excitement and unrecorded of the venue that could not be conveyed there. 1973 1ST NIGHT “. However, it was very well received by enthusiasts and was a good start for the winter tour release. The secret of the high evaluation is that it is a wonderful upper version of “recorder 1” from the audience recording of the same day that was overlooked for the above reason. After all, the PA sound board is inevitably weak in terms of presence. Therefore, it was attractive not only as a document that conveys the original presence of the concert and the intense excitement of the day, but also as an audience recording of a winter tour that can be simply enjoyed.
In that case, we cannot help releasing the PA sound board principal image of the day. As I mentioned when the audience board was released earlier, there are some parts that were not recorded on this day either. It is clear that a new best version can be created by using the upper version of “recorder 1” realized by “SYDNEY 1973 1ST NIGHT” instead of “recorder 2” which was a conventional supplementary staff. Therefore, the release of the strongest hybrid version of the sound board + audience is finally realized this time.
It was
The compensator “recorder 1” was mastered with the release of “SYDNEY 1973 1ST NIGHT”, so what is important in this release is, of course, the part of the PA sound board recorded in stereo. This sound source was initially used as a sound board for Perth’s supplementary personnel on the 24th, and was used for “LIVE IN PERTH AUSTRALIA” released by a label called ROCK WHILE, who later called himself Scorpio. It is nostalgic that the enthusiast was delighted. Sure enough, I was illusioned that it was a complete version of Perth at first, so much that I created a copy board called “ROCKS OFF!” Made by TSP, which was truly nostalgic.
However, even on this day, it will be settled by being coupled with Perth on the OH BOY! Board “HAPPY BIRTHDAY NICKY”. However, unlike Perth, tape sources are available here, and non-copyboard titles such as “A STICKY SYDNEY RACE COURSE” and the VGP label “ROCK’N ROLL STEW”, which was the definitive edition of the 90’s, have appeared. However, in recent years, DISC-2 of DAC “HAPPY BIRTHDAY NICKY” has reigned best. However, the high-pitched sound is conspicuous on the DAC board, and this time Graf Zeppelin decided to adopt the old OH BOY! In order to pursue a more natural texture.
Thanks to the brush-up by Graf Zeppelin based on that, this time the treble is not overwhelming, yet the version is upgraded to a natural, refreshing and clear sound quality. The difference in sound quality can be felt if Keith’s guitar reverberates from the intro with a rough texture, and the bass of the building is also heard and compared around “Rocks Off”. In the first place, this “Rocks Off” is surprisingly played with a violent momentum that is completely different from the speed of the American tour six months ago, even though the recording method is different.
And the DAC board, which was considered to be the best in the past, used to make up for the missing part with the audience “recorder 2”, but now the upper version “recorder 1” is easier to hear. In the former, the sound of Keith’s guitar was conspicuous, and the sound image was far away. Of course, even the latter used this time is a fact that it is an audience recording for rough enthusiasts, but it is definitely easier to hear. Here, Graf Zeppelin does not divert “SYDNEY 1973 1ST NIGHT” as it is. There, after newly adjusting the sound, the missing part is compensated. On the contrary, even the twist that was in the BGM Beatles “Don’t Bother Me” that was flowing at the venue before the appearance of Stones, which became a hot topic in this upper version, was thoroughly adjusted.
In this way, in a live performance where both the sound board and the audience exist, it is unlikely that the sound source will make you feel the pleasure of listening and comparing each other. In the first place, Australia’s three days are stereo, so it is more realistic than the conventional monaural PA sound board. Still, it doesn’t come true for “recorder 1”, but on the other hand, Charlie is overwhelmed by the spectacular drumming of “Midnight Rambler” in the early stages because it is a PA sound board that highlights the outline of the performance.
Also, “Love In Vain”, where the audience’s skirmishes were captured, also demonstrates the greatest advantage of the sound board that you can listen to the performance here. You can enjoy the unique high tension in each of the three days in Australia where the sound board is left, but compared to Perth where Mick was sharp, this day was a violent momentum as if he and the band competed. Is transmitted. Of course, this time, the intro of “Gimme Shelter” did not fall into the confusion like Perth.
What’s interesting is that Perth has the shortest recording time on the sound board, more songs were recorded on this day, and all songs were recorded at the final “SYDNEY 1973 2ND NIGHT: SOUND BOARD”. Is said to improve. For that reason, this performance with audience recording was waiting for the appearance of a new definitive edition that combines the best of both the sound board and the audience. Enjoy everything on the first day of Sydney with the new definitive edition that is truly a long-awaited enthusiast.
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(Remaster memo) REMASTERED BY GRAF ZEPPELIN
★ This is also remastered based on OH BOY, and the full length board is reproduced by filling in the missing part with Aud Rec 1.
The base OH BOY board has been corrected for phase and low-frequency EQ.
In addition, it seems that the existing DAC board is not a copy of OH BOY (there is no omission of the start of the phone key), but the high range is noisy.
I think this edition is easier to hear.
★ The gap between songs before Honky and some omissions in the intro are corrected by EQ processing etc. from the DAC board.
The live intro, Brown Sugar early stage, JJF, and SFM, which have not been fully received on the OH BOY board, are remastered and supplemented from the other day’s Aud Rec 1.
★ This Aud Rec 1 has EQ adjustment and pitch correction while considering the matching with the main sound board sound. (Although there is still a considerable difference in sound quality.)
★ The Beatles tape twist in the intro has also been corrected. In Brown Sugar, Aud Rec 1 has been corrected to have a fairly high pitch in the early stages.
Also, with this Aud Rec1, the SFM start seemed to be missing for a moment, so I overdubbed the existing Rec2 so as not to feel uncomfortable.
Also, the pitch of the two songs JJF and SFM was slightly lower.
1973年ウインター・ツアー終盤のサウンドボードが存在する日ながら、そこで伝えきれない会場の盛り上がりや未収録を含んでいたことを見据え、敢えてサウンドボードより先に同日のオーディエンス録音をリリースしたのが「SYDNEY 1973 1ST NIGHT」。しかしマニアには大好評となり、ウインター・ツアー・リリースの幸先良いスタートとなりました。先の理由から見過ごされていた同日のオーディエンス録音から「recorder 1」の見事なアッパー版というのが高評価の秘訣。やはり臨場感という点ではPAサウンドボードはどうしても弱い。よってコンサート本来の臨場感やこの日の強烈な盛り上がりを伝えてくれるドキュメントとしての側面はもちろん、単純に楽しめるウインター・ツアーのオーディエンス録音としても魅力も十分でした。
となればこの日のPAサウンドボードご本尊もリリースしない訳にはいかない。先のオーディエンス盤のリリース時に触れたように、この日も録音されなかったパートがある。そこを従来の補填要員だった「recorder 2」ではなく、「SYDNEY 1973 1ST NIGHT」で実現した「recorder 1」のアッパー版を使えば新たなベスト・バージョンが生み出せることは明らか。そこで遂にサウンドボード＋オーディエンスの最強ハイブリッド版のリリースが今回実現します。
補填要員たる「recorder 1」は「SYDNEY 1973 1ST NIGHT」のリリースにて極められた訳ですから、今回のリリースにおいて重要なのは、もちろんステレオ録音されたPAサウンドボードのパート。こちらの音源は当初24日パースの補填要員サウンドボードとして日の目を見る形となり、例えば後にスコルピオを名乗るROCKWHILEというレーベルが出した「LIVE IN PERTH AUSTRALIA」に使われ、すわ「遂に完全版サウンドボードか？」とマニアをぬか喜びさせたのも懐かしい。案の定これを真に受けたこれまた懐かしのTSP製「ROCKS OFF!」というコピー盤を生み出してしまうほど、当初はパースの完全版かと錯覚させられてしまったのです。
しかし、この日の関してもOH BOY!盤「HAPPY BIRTHDAY NICKY」でパースとカップリングされたことで決着が付きます。ただしパースと違ってこちらはテープ・ソースが出回り、例えば「A STICKY SYDNEY RACECOURSE」や90年代の決定版とされたVGPレーベル「ROCK ‘N ROLL STEW」のようなそれのコピー盤でないタイトルが登場しましたし、近年はDAC「HAPPY BIRTHDAY NICKY」のDISC-2がベストに君臨していたものです。ところがDAC盤は高音が目立つ状態であり、今回はよりナチュラルな質感を追及すべく、敢えて古のOH BOY!をGraf Zeppelinは採用することに決めました。
それを基にしたGraf Zeppelinによるブラッシュアップのおかげで、今回は高音がおしつけがましくなることなく、それでいてナチュラルでスッキリとクリアーな音質へとバージョンアップ。その音質の違いはイントロからキースのギターがざっくりとした質感で鳴り響きつつ、ビルのベースもブリブリうなる「Rocks Off」辺りで聞き比べてもらえれば実感してもらえるのでは。そもそもこの「Rocks Off」、いくら録音方法が違うとはいえ、それでも半年前のアメリカ・ツアーのスピーディーさとはまるで違う荒々しい勢いで演奏されているのが驚き。
そして従来ベストとされてきたDAC盤は欠損部分をオーディエンス「recorder 2」で補填していた訳ですが、今となってはアッパー版「recorder 1」の方が聞きやすい。前者はキースのギターの音が目立ち、なおかつ音像が遠めという状態でした。もちろん今回使用した後者ですら粗いマニア向けのオーディエンス録音であることは事実ですが、それでも確実に聞きやすくなっています。ここで「SYDNEY 1973 1ST NIGHT」をそのまま流用しないのがGraf Zeppelin。そこは新規に音を調整した上で欠損部分を補填しています。それどころか今回のアッパー版で話題となったストーンズ登場前の会場に流れていたBGMビートルズ「Don’t Bother Me」にあったヨレまでもアジャストを徹底。
こうしてサウンドボードとオーディエンスの両方が存在するライブで、それぞれを聞き比べる楽しみを感じさせてくれる音源というのもそうそうないのでは。そもそもオーストラリア三日間はステレオという事もあって従来のモノラルPAサウンドボードよりは臨場感を拾ってくれている。それでも「recorder 1」には叶わない訳ですが、その反面チャーリーが序盤で煽りまくる「Midnight Rambler」の壮絶なドラミングに圧倒されるのは演奏の輪郭が浮き彫りになるPAサウンドボードだからこそ。
またオーディエンスでは観客の小競り合いが捉えられていた「Love In Vain」もここでは演奏を聞きこむことができるというサウンドボード最大の利点を発揮。サウンドボードの残されたオーストラリア三日間はそれぞれで独特のハイテンションぶりが楽しめるのですが、やたらミックがキレッキレだったパースと比べ、この日は彼とバンドが拮抗したかのような荒々しい勢いが伝わってくる。もちろん今回は「Gimme Shelter」のイントロもパースのような混乱に陥ることもなく。
何が面白いって、パースはサウンドボードの録音時間がもっとも短く、この日はより多くの曲が録音され、最後の「SYDNEY 1973 2ND NIGHT: SOUNDBOARD」で全曲収録といった具合で日程が進むにつれて収録状態が向上していくという。それだけにオーディエンス録音の存在する本公演はサウンドボードとオーディエンス両方のベストを組み合わせた新たな決定版の登場が待たれていました。正にマニア待望と言える新たな決定版にてシドニー初日のすべてをお楽しみください。
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（リマスター・メモ）REMASTERED BY GRAF ZEPPELIN
★こちらもOH BOYをベースにリマスターし､さらに欠落をAud Rec1で補填することで全長盤を再現｡
ベースのOH BOY盤は位相や低域EQなどの補正が施されています｡
なお､既発DAC盤はOH BOYのコピーではないようです(ホンキー出だしの欠落なし)が､高域がかなうるさいので
今回盤の方が聞きやすいかと思われます｡
★Honky前の曲間とイントロの若干の欠落をDAC盤からEQ処理等補正のうえ補填｡
OH BOY盤で丸ごと未収のライブ・イントロ､Brown Sugar序盤､JJF､SFMは先日のAud Rec1を改めてリマスター処理のうえ補填｡
★このAud Rec1は､メインのサウンドボード音声とのすり合わせを考慮しながらのEQ調整とピッチの修正がなされています｡(それでも音質差はかなりありますが｡)
★またイントロのビートルズのテープヨレも補正｡Brown SugarではAud Rec1は序盤かなりピッチ高かったのが補正されています｡
また､このAud Rec1ですが､SFM出だしはアタマ一瞬欠落してるようでしたので､違和感ないように既発Rec2をオーバーダブしてます｡
またJJF､SFMの2曲はピッチ若干低めだったのを修正｡
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(78:31)
01. Audience / 2000 Light Years From Home Intro ★まるごとAud Rec1 /
テープヨレ補正
02. Brown Sugar ★0:00-040 Aud Rec1 / 序盤ピッチ高め補正
03. Bitch
04. Rocks Off
05. Gimme Shelter
06. Happy
07. Tumbling Dice
08. Love In Vain
09. Sweet Virginia
10. You Can’t Always Get Want You Want
11. Honky Tonk Women ★演奏前曲間とイントロ僅か1秒ほどをDACから補填
12. All Down The Line
13. Midnight Rambler
14. Band Introductions
15. Little Queenie
16. Rip This Joint
17. Jumping Jack Flash ★丸ごとAud Rec1
18. Street Fighting Man ★丸ごとAud Rec1 ★出だし一瞬Rec2をオーバーダブ
19. Land Of Hope And Glory with Fireworks ★丸ごとAud Rec1
