Bob Dylan/WA,USA 1978 Upgrade

As you can probably guess from the title, “Definitive,” this recording is a 1978 audience recording that already has an existing item. There are several excellent recordings from November when Bob Dylan toured the United States on his 1978 tour, but this is one of the most representative. It was released as “LIVE AT THE PITSTOP ’78” by Wanted Man, a nostalgic Dylan label (it was a mystery that the cover photo was Dylan from Toad’s Place in 1990…), and was evaluated by enthusiasts as a representative item of November. At this time, Dylan held a concert at the Heck Edmonton Pavilion, a smaller arena, rather than the Center Coliseum in the same Seattle venue, which may have been a success, but the sound image was very close despite being mono, and the dry, bold, and easy-to-listen-to appeal was also appreciated by enthusiasts. Dylan’s singing voice is particularly close. With such high quality, it is only natural that a copy would be produced, and in the 21st century, “STREET LEGAL IN SEATTLE” was released, which was a copy of “LIVE AT THE PITSTOP ’78” and added equalization. At that time, Wanted Man was difficult to obtain, so it was highly praised despite being a copy. This is also due to the excellence of the original sound source. However, it has been exactly 20 years since the original Wanted Man, as well as its copy. It is surprising that the 1978 tour sound source, which boasts such easy listening, was not steadily supplied and became difficult to obtain. This situation has continued for many years, so even if a copy from the original had appeared again, it may have been as well received as “STREET LEGAL IN SEATTLE”. Even more surprising is that although the JEMS team had unearthed the master version of this famous November 1978 sound source several years ago, it was neglected…in other words, it was possible to release a new version from the master, but it was left unattended. I can’t believe that such a classic sound source has fallen into such a state. This time, a limited press CD release from the master that enthusiasts all over the world have been waiting for will be released, but as expected, it was recorded from the master reel, so the upper feeling is striking. Even “LIVE AT THE PITSTOP ’78”, which felt so high sound quality, had a poor sound quality that reminded me of the state that it had been copied on cassette several times before this version, and this version has an overwhelmingly refreshing and clear sound quality. Since it is a mono recording, it is easier to understand the upper feeling when you turn up the volume from the speaker, and the scene before Dylan’s appearance in the opening and before the start of the “My Back Pages” instrumental is recorded longer than the already released version, which is unique to the master reel. Not only is the sound quality wonderful, but the charm of this sound source is that it firmly conveys the wonderfulness of the stage in November 1978. The 1978 tour, which started with the first performance in Japan, initially weakened the rock color and instead had a concept of a song show accompanied by a big band. However, as the tour progressed and he recorded the album “STREET LEGAL”, Dylan began to realize that “this is rock after all”, and the rock color of the European tour, as heard in the popular “EARLS COURT 1978” and “PARIS 1978 FINAL NIGHT”, began to become stronger. After the summer vacation, when the long-term US tour began, Dylan’s stage costumes also changed from the entertainer-like costumes he had been wearing up until then to a rock-like look all at once. As heard in the best-selling “MADISON SQUARE GARDEN 1978 1ST NIGHT”, in September he tried various repertoires and strengthened his rock style, and by November it had become unshakable. Furthermore, Dylan was particular about his goal of becoming a “ballad singer” throughout 1978. His initial attempt to create a music show-like atmosphere backfired and was not easily understood, but in fact Dylan wanted to become a singer and sing ballads. In addition, with the appearance of the new song “Senor (Tales Of Yankee Power)” from “STREET LEGAL”, Dylan is finally aiming to become a ballad singer. The Seattle performance was a good combination of rock and ballad singing, and “Mr. Tambourine Man”, which was performed in a pop style at the Budokan and other venues, was suddenly changed to a ballad arrangement with a slower tempo. On the other hand, “Tangled Up In Blue”, which was performed in a ballad arrangement from the beginning, has a gospel atmosphere added to it, foreshadowing the style from the following year onwards, but above all, it’s good to see Dylan singing comfortably. Of course, he fully demonstrates his ballad singing skills in “Just Like A Woman” and other songs, but the band’s performance is also strong as they have toured many times. Ian Wallace’s drumming, which was played in a subdued style in the album Hargeon’s “Senor”, also shows his true potential with intensity. And above all, “Masters Of War” has evolved into the best hard rock, and not only he but also guitarist Billy Cross plays it down. The charm of the American tour is that the original ballad route is well matched with the evolution of this rock sound, and the charm of this sound source is that its unique sound and Dylan in top form are captured with great sound quality and sound image. When this becomes the finale “Changing Of The Guards”, the hard performance that has evolved greatly from the album version and Dylan’s wild singing are overwhelming. The literal definitive version recorded from the master of Seattle in 1978, which maniacs all over the world have been waiting for, has finally been released. Hec Edmondson Pavilion, University of Washington, Seattle, WA, USA 10th November 1978 TRULY PERFECT SOUND *UPGRADE Disc 1 (63:27) set 1 1. Intro 2. My Back Pages (Instrumental) 3. She’s Love Crazy 4. Mr. Tambourine Man 5. Shelter From The Storm 6. It’s All Over Now Baby Blue 7. Tangled Up In Blue 8. Ballad Of A Thin Man 9. Maggie’s Farm 10. I Don’t Believe You 11. Like A Rolling Stones 12. I Shall Be Released 13. Senor set 2 14. Intro 15. Rainy Day Women #12 & 35 Disc 2 (77:30) 1. It Ain’t Me Babe 2. One More Cup Of Coffee 3. Blowin’ In The Wind 4. Girl From The North Country 5. Where Are You Tonight 6. Masters Of War 7. Just Like A Woman 8. To Ramona 9. All Along The Watchtower 10. All I Really Want To Do 11. (band introductions) 12. It’s Alright Ma (I’m Only Bleeding) 13. Forever Young 14. Changing Of The Guards Bob Dylan – vocals & guitar Billy Cross – guitar Alan Pasqua – keyboards Steven Soles – rhythm guitar & backing vocals David Mansfield – violin & mandolin Steve Douglas – horns Jerry Scheff – bass Bobbye Hall – percussion Ian Wallace – drums Helena Springs, Jo Ann Harris, & Carolyn Dennis – backing vocals