Bob Dylan,Mick Taylor/Italy 1984 & more

Now that we have released the rehearsal sound source of the 1984 European tour, there is no reason not to release the actual tour as well. Moreover, since the rehearsal is a soundboard recording, you want to listen to the tour performance as a soundboard recording. Until now, our store has released “BRUSSELS AFFAIR” in the first half of the tour, and “THE BEST SHOW: BARCERONA 1984″, which became the masterpiece of the century in the middle of the tour. Although both were audience recordings, they boasted extremely high quality in both sound quality and content, so they not only became best sellers, but also generated a response that caused the 1984 tour to be reevaluated. And this time, stereo sound board recording has finally appeared. Moreover, the show was recorded at the perfect time between Brussels and Barcelona. That is the SBD sound source of Palaeul (currently Palalotmatica) in Rome, which will be released on June 19th. If Rome is on that date, there are bound to be some enthusiasts who will be excited. Yes, it is a sound board recording that was released by the past Wanted Man with “OH THE STREETS OF ROME” and even with the label Shamrock with “LIVE AT PALAEUR”. In fact, in contrast to “OH THE STREETS”, which was completely recorded but had a severe pitch error, the later released “LIVE AT PALAEUR” was called the definitive Rome SBD. In fact, “LIVE AT PALAEUR” is still being uploaded on the Guitars 101 site, and there are even crude items that have been downloaded from there and then released. However, the Shamrock edition (hereinafter referred to as the previously released edition) that I listened to again for this release has an unnatural texture with a surprisingly equalized feel. In reality, rather than equalization, it is assumed that this is the result of using a compressed sound source that was passed 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 pre-release version was released, was incomparably primitive compared to today. Also, the previously released version had a cover of Gladys Knight & The Pips’ “I’ve Got To Use My Imagination” sung by Greg Sutton, which was not a Dylan song, but was cut out. However, in this release, the pitch is accurate and the sound quality is suddenly warm and natural.It is recorded from a literal top master. If you have the previously released version, I would like you to listen to it and compare. After all, this version is suddenly more natural. Also, the fact that the pitch was close to accurate was a reason why the previously released version received high praise, but in fact, the pitch was out of order from the second half of the live performance. In that respect, it will be a big advantage for me to be able to hear the exact pitch until the end. Since the original was not recorded using multi-tracks but a stereo soundboard recording with PA output, the lack of realism due to the low cheering level is difficult to overcome, and Taylor’s guitar is not as good as the song. The volume level sometimes goes up and down, but it can’t be helped that this is a peculiarity of this kind of recording. However, the freshness of this top master is wonderful, and you can still see how Taylor’s play is burning up. In the first place, the biggest highlight of this song is that it captures the band’s upswing as the famous performance in Barcelona is a week away. When Dylan, the leader, fully opens up the engine with “Just Like A Woman” and sings while strumming the acoustic guitar violently, the band is also encouraged and the intense performances suddenly become a series. Even though this is the first half of the live performance, such as the double barrage of “I And I” and “License To Kill” from “INFIDELS” that concludes the first half, it seems that they have already reached their peak. Sutton sings “I’ve Got To Use My Imagination” as if to cool down the heat, and he does his best to give us an R&B style shout, which is recorded on a soundboard that feels real. I think you should check it again. Dylan’s solo singing part is no longer a stable wonder, but the second half of the live performance after the band returned is as strong as ever. Although it is regrettable that the balance is a bit off, Taylor’s guitar still explodes in “Masters Of War”. Furthermore, in “Every Grain Of Sand”, which has a rough and loose arrangement similar to the Stones, his guitar sound is pushed out, and you can enjoy plenty of flowing Taylor music. I can’t help but think that the fact that these performances unique to the 1984 tour were not included in the later official “REAL LIVE” led to the low evaluation of the tour. And from the encore “The Times They Are A-Changin’”, Santana, who had been showing off his own stage before Dylan every night, will appear and join the performance. Moreover, this time, as a bonus track, a soundboard recording of the encore part at the same location the next day is also included (the sound quality here is also excellent!). This is not only the first sound source, but the point is that “Leopard-Skin Pill-Box Hat”, which was not played the day before, can be heard on the sound board recording. During the encore on the 19th, Santana was seen to be out of tune during “I Shall Be Released,” but since this song is blues-style, Santana also performed a solo that was as sharp as it could be. Show off. Not only that, his play on “The Times They ~” was clearly better on this day, and it is possible to compare such listening only with sound board recording, which is good at clearness. Not only did they release the first day of Rome, which was a staple of the 1984 tour SBD, for the first time in a while, but they also recorded the best version as a matter of course, and they also included bonuses up to the 20th SBD, which was the first appearance. Contents. The finale “Blowin’ In The WInd” is a huge hit 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. Leopard-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)