Rolling Stones/MA,USA 6.11.1975

I think the Rolling Stones reached the height of their wildness on stage during their 1975 American tour. This was clearly conveyed through the remaining sound sources, but in his autobiography, Keith himself revealed that he used to do cocaine even during live shows (he reportedly had a special cabin behind the stage). When he came to testify, it was proven that the extremely upper atmosphere of this tour was brought about by drugs. This was probably the only time that the looseness of the 70’s Stones sound was outweighed by the cocaine-inspired upbeat momentum. Among them, Mick’s singing is not only wild, but also fierce, sometimes reaching the level of screaming. However, Mick is also a human being (lol) It was during the first half of the tour in 1975 that he sang with an upper-cut, crisp feeling to the forefront, and when the tour reached Madison Square Garden in New York, there was a lull ( Is there also a difference in the quality of the yaks available?) When Mick moved to LA, where such things were prevalent, he returned to his upper-class tone. And as the tour drew to a close, Mick’s wild and screaming tone also calmed down. The two days in Boston in June can be called the height of Hyper Mick’s 1975. Mick was amazing on both days, and his wildness was on full display. Joe Maloney recorded those two days. First of all, there are two types of audience recordings for the first day, “Recorder 1” is VGP’s “LUXARY IN BOSTON”, and “Recorder 2” was popularized about 15 years ago at the height of the sound source trade, and from there. 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 the master tape from Maroney and retransferred the two days’ worth of sound sources, and this is the first time that “Recorder 3” has appeared on the first day. Masu. All of the past sound sources are stereo audience recordings, and the one that has the closest sound image and is easiest to hear is still “LUXARY IN BOSTON” of “recorder 1”. However, the problem with the same title was that in the second half of “Outta Space” and “Jumping Jack Flash” the sound quality was poor and the sound source was switched to a different day’s sound source. In that respect, although there was no big cut in the song in “Recorder 2”, this time the sound image is blurred and it is difficult to understand. By the end of the concert, when the venue was getting excited, it had deteriorated to the point where you could no longer tell where they were playing. However, this time Maroney has the solid sound quality of his typical monaural recording, and the sound image is somewhere between the past two recordings. Therefore, although there is a sense of distance in the sound image, it is not a blurred balance. It is much easier to listen to than “recorder 2”. There is also no cut of the “Tumbling Dice” intro, which was the only drawback in the same sound source. What’s more, it’s monaural, so it sounds really good when played through speakers. And speaking of the first day in Boston in 1975, the highlight was Mick, who was full of upper-cuts. First of all, Mick is in quite a state in the opening two songs, and both songs explode with screaming singing or unusual melody lines. Just by listening to them, you can enjoy Mick’s insane singing to your heart’s content. After that, Mick continued to sing out of control, but “Gimme Shelter” calmed down a little. On the 1975 tour, the first half of the same song always played a role of taking a breather, but since he was in such a state, the effect was even more great. Maybe he took a breather then (bitter smile), and Hyper Mick returned from “You Can’t Always Get What You Want.” Once again, he will let you hear the screaming singing method, but the excitement of the Boston audience is amazing in front of such an intense performance. That situation was captured realistically in “Recorder 2,” but the appeal here is that you can enjoy a sense of reality with a less sarcastic balance. The “Doo Doo Doo Doo Doo (Heartbreaker)” stage review was performed in Europe in 1973, but it was on the 1975 tour that the repertoire reached maturity. In fact, there is a wonderful performance left at the LA Forum, but here too the performance starts with a tremendous excitement from the intro, and the sense of reality is goosebumps. And Mick explodes again with “Midnight Rambler”. It was Charlie’s amazing drumming that lit the fuse, and from there Mick’s screaming performance, typical of that day, ran through to the end. It is a day that has been handed down among enthusiasts for a long time due to Mick’s fierce singing, but the first day in Boston, which can be enjoyed with the solid monaural sound quality unique to Maroney, is also special. In addition, it is a big attraction that the freshness is better than the past two sound sources, and at the same time, it can be said that it is the result of being transferred from the master with 2019 technology. Another point is that it is the longest recording, including the announcement at the end of the performance. Mick is already sharp! (Remastered memo) ★ Corrected pitch 10% – 30% higher than semitone. ★The bass was roaring, so I adjusted it to bring out the overall outline. ★The A/B/D sides of the tape are balanced on the right side, so I adjusted them as much as possible to the center. Boston Garden, Boston, MA, USA 11th June 1975 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 – percussion backing vocals