Description
Now that we have released the rehearsal sound source of the 1984 European tour, we cannot help but release the actual tour as well. Moreover, since the rehearsal is a soundboard recording, we would like to hear the actual tour on a soundboard recording. Until now, our shop has released “BRUSSELS AFFAIR” from the first half of the tour, and “THE BEST SHOW: BARCERONA 1984” from Barcelona, ​​which became the century’s masterpiece at the midpoint of the tour. Although both were audience recordings, they boasted very high quality in both sound quality and content, so they not only became best-sellers but also created a response that reevaluated the 1984 tour. And this time, the stereo soundboard recording has finally appeared. Moreover, the show recorded was an exquisite time between Brussels and Barcelona. That is the SBD sound source of Rome, Pala Eul (now Pala Lottomatica) on June 19th, which will be released this time. If it is Rome on that date, there should be some enthusiasts who will come to Ping. Yes, it is a soundboard recording released by Wanted Man in the past with “OH THE STREETS OF ROME” and by a label called Shamrock with “LIVE AT PALAEUR”. In fact, while “OH THE STREETS?” was completely recorded, the later release “LIVE AT PALAEUR” was said to be the definitive Rome SBD, whereas “OH THE STREETS?” had severe pitch errors. In fact, “LIVE AT PALAEUR” is still uploaded on the Guitars 101 site, and there are even crude items that were downloaded from there and released. However, the Shamrock version (hereinafter referred to as the previously released version) that I listened to again for this release has a surprisingly unnatural texture with an equalized feel. In fact, rather than being equalized, it is speculated that it is the result of using a sound source that was compressed through a computer when it was released. It is a fact that makes you realize that the sound source compression technology at the beginning of the 21st century when the previously released version was released was far more primitive than it is today. Also, the previously released version had cut “I’ve Got To Use My Imagination,” a cover of Gladys Knight & The Pips sung by Greg Sutton, which is not a Dylan song. However, this release is recorded from a literally higher master with accurate pitch and suddenly warmer and more natural sound quality. If you have the previously released version, I would like you to compare it. After all, this version is suddenly more natural. The fact that the pitch was close to accurate was also a factor in the high evaluation of the previously released version, but in fact the pitch went out of sync from the second half of the live performance. In that respect, it is also a great advantage that the pitch can be heard accurately until the end this time. Since the original was not recorded using a multi-track, but a stereo soundboard recording with a PA out, the lack of realism due to the low cheering level is unavoidable, and the volume level of Taylor’s guitar goes up and down depending on the song, but it is inevitable that this is a peculiar habit of this type of recording. However, the freshness of the top masters this time is wonderful, and you can still hear how Taylor’s play is burning up. The biggest highlight of this day is that it captures the band’s rising momentum one week after the famous Barcelona performance. When Dylan, the leader, opens the engine at full throttle with “Just Like A Woman” and sings while strumming the acoustic guitar intensely, the band is also incited and the performance becomes intense at once. The two consecutive “I And I” and “License To Kill” from “INFIDELS”, which closes the first half, seem to have already reached their peak, even though this is the first half of the live performance. As if to cool down the heat, Sutton sings “I’ve Got To Use My Imagination”, and he does his best to let us hear the R&B style shout, and I would like you to reconfirm it with a soundboard recording that makes it feel real. Dylan’s solo performance is now stable and wonderful, but the second half of the live after the band returned is as good as ever. It’s a shame that the balance is a little off, but Taylor’s guitar explodes on “Masters Of War”. Furthermore, the Stones-like rough and loose arrangement of “Every Grain Of Sand” pushes his guitar sound forward, and you can enjoy Taylor’s elegant style to the fullest. It seems that the fact that these performances unique to the 1984 tour were not included in the official “REAL LIVE” later on is what led to the low evaluation of the tour. And from the encore “The Times They Are A-Changin'”, Santana, who performed on his own stage before Dylan every night, appears and joins the performance. Moreover, this time, as a bonus track, a soundboard recording of the encore part at the same venue the next day is also included (the sound quality of this is also great!). Not only is this the first appearance sound source, but the point is that you can hear “Leopard-Skin Pill-Box Hat”, which was not played the day before, on the sound board recording. In the encore on the 19th, Santana was seen to miss the sound in “I Shall Be Released”, but since this song is blues-like, Santana also showed off a solo that was as sharp as possible. Not only that, but his playing on “The Times They?” was clearly better on this day, and the fact that you can compare such listening is unique to the sound board recording with excellent clarity. Not only was the first day of Rome, which was a standard for the 1984 tour SBD, released for the first time in a long time, but it was recorded in the best version as a matter of course, and the bonus recording was included until the first appearance on the 20th SBD. The finale “Blowin’ In The WInd” was a tremendous excitement on both days! Roma Palaeur, Rome, Italy 19th June 1984 STEREO SBD Disc 1 (76:30) 1. Highway 61 Revisited 2. Jokerman 3. All Along The Watchtower 4. Just Like A Woman 5. Maggie’s Farm 6. I And I 7. License To Kill 8. I’ve Got To Use My Imagination (sung by Greg Sutton) 9. A Hard Rain’s A-Gonna Fall 10 Tangled Up In Blue 11. It’s Alright, Ma (I’m Only Bleeding) 12. Simple Twist Of Fate 13. Masters Of War 14. Ballad Of A Thin Man Disc 2 (72:57) 1. When You Gonna Wake Up 2. Every Grain Of Sand 3. Like A Rolling Stone 4. Mr. Tambourine Man 5. It Ain’t Me, Babe 6. The Times They Are A-Changin’ (with Carlos Santana) 7. I Shall Be Released (with Carlos Santana) 8. Tombstone Blues (with Carlos Santana) 9. Blowin’ In The Wind (with Carlos Santana) Bonus Track Roma Palaeur, Rome, Italy 20th June 1984 10. It Ain’t Me, Babe 11. The Times They Are A-Changin’ (with Carlos Santana) 12. ard-Skin Pill-Box Hat (with Carlos Santana) 13. Tombstone Blues (with Carlos Santana) 14. Blowin’ In The Wind (with Carlos Santana) STEREO SOUNDBOARD RECORDING Bob Dylan (vocal & guitar) Mick Taylor (guitar) Ian McLagan (keyboards) Greg Sutton (bass) Colin Allen (drums)
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