Description
Dylan, who had lost his direction and was seriously considering retiring at one point, suddenly came back to life on the 1987 European tour. Although the backing band is the same Tom Petty & The Heartbreakers from the previous year, the performance and song selection have changed so far, which is typical of Dylan. Not only did he testify to this in his biography, but it is also an excellent sound source that conveys how Dylan has regained his vitality, and it is easy to understand with just one listen. The CD-R “JERUSALEM 1987” from last week’s UXBRIDGE label was shown. As I mentioned there, the 1987 European tour was highly rated among overseas enthusiasts. New Dylan’s ambitious staging and expanding repertoire. Therefore, it can be said that it is a tour that is worth collecting, and at one time many items were released. Among them, “THE FINAL NIGHT AND MORE” was called a masterpiece. It reigned as a very popular item because it captured the London performance on the last day of the tour with an audience recording of perfect sound quality, and after it became difficult to obtain, it was traded at a high price. However, the reason why the last day of the 1987 tour is so popular is not only its sound quality and performance content. When “Rainy Day Women # 12 & 35” was played in the encore, George Harrison jumped in. About two weeks ago, their first single in a while, “Got My Mind Set on You,” was released, and it was a huge hit. It is easy to imagine that George, who was excited at this timing, would have jumped in on the stage of his good friend Dylan. What’s more, he showed up playing the guitar and ended up taking over the lead vocals midway through. Of course, the sound quality is very good, so the excitement from the sudden appearance of George can be felt realistically. As expected from George’s home country. “THE FINAL NIGHT AND MORE” is hailed as a great masterpiece because it was the final day of the tour, which was full of sound quality, performance, and the appearance of former Beatles members. However, it was equalized upon release, and when I listened to it again, there was quite a bit of a fizzing texture centered around the cymbal sound. Especially in the scenes before Dylan and the band members appear, the unnaturalness of this texture is strong, which is typical of digital equalization in the late 1990s. The sound processing, which didn’t bother me when it was first released, is now completely outdated. Still, “THE FINAL NIGHT~” has been difficult for a long time. In the first place, it was clear that the same title was not only equalized but also not recorded from the master. Of course, it is assumed that it was in a low generation state, but it was still clear that the cassette had been dubbed at least once. However, a version of the master copy had been circulating among traders since then. That’s why it was the day when the new definitive edition was eagerly awaited. This release will lower the appetite of enthusiasts around the world. First of all, since it is recorded from the audience master cassette, the recording time itself is longer than “THE FINAL NIGHT ~”. Judging from the scene before the example of Dylan and others, it is recorded longer than that. By the way, because it is an unplayed part, there is a version widely available on the internet in which this part is completely cut out even though it is the same master, but this time it is recorded without omitting that part. And the natural texture is incomparable to “THE FINAL NIGHT”, and the rounded texture is unique to the master. For example, it’s very easy to understand if you listen to a performance like “Maggie’s Farm” with an upbeat sound and a lot of cymbal sound, but this time it’s suddenly more natural and warm. Also, the secret to the popularity of “THE FINAL NIGHT~” was that there were a lot of bonus tracks, but this time we have carefully selected performances and performances that do not overlap in any way. Originally, the 1987 European tour had a shorter performance time than the previous year, and there were even performances that could fit on one disc, like the previous Jerusalem performance. Because of that, it was even like a ritual of this tour item to add the sound source of the same tour as a bonus. Because of that, many compilations have been released in the past for this tour, but we have carefully selected rare takes that were not included in those for the first time on CD. This resulted in a wonderful coverage of 1960s masterpieces and rare numbers such as “Desolation Row” and “Pledging My Time” in conjunction with London. These are also recorded with the best audience recording, but as an unprecedented attempt, it will also include two songs from the stage of Roger McGuinn, who served as the opening act at the end. Both of these are masterpieces of the Byrds, so even non-maniacs are sure to enjoy them. What’s more, McGinn’s backup is the Heartbreakers, who respected him. In other words, the composition was different from the previous year, and in 1987 the show was progressing in the order of McGuinn – Petty – Dylan. And befitting the final day of a tour full of change and vitality, the performances and Dylan’s songs heard here are truly wonderful. In the first place, this tour is the only one that is so luxurious that it suddenly opens with “The Times They Are A-Changin'” and then continues with “Like A Rolling Stone.” Adding to that, in the former, the harmonica that Dylan plays in the intro is longer than on other days, and you can clearly feel Dylan’s enthusiasm on the final day of his revived tour. After that, it’s refreshing to see how everything seems to come together all at once with an incredibly wide selection of songs. Last year, Dylan often talked on stage, but this tour is unique in that there is no MC at all, and instead he plays various songs in quick succession. It’s clear that not only Dylan, but also the Heartbreakers backing him, are playing more freely than last year, and on “I’ll Be Your Baby Tonight,” Mike Campbell plays the pedal steel, creating the atmosphere of the original song. It’s attractive to be there. The bonus song “Desolation Row” that I mentioned earlier has a wonderful arrangement centered around Belmont Tench’s piano. And in the encore, McGuinn first appeared and performed “Chimes Of Freedom”, which is perfect for a duet with Dylan, and then George appeared unexpectedly. In “THE FINAL NIGHT~”, it faded out as soon as the highlight “Rainy Day Women # 12 & 35″ ended, but this time we recorded the audience master as much as possible, so after that, ” It’s also fun to see casual conversations like, “Who was that person?”, “It’s George Harrison”, and “Huh?”. Wembley Arena, London, UK 17th October 1987 TRULY PERFECT SOUND Disc 1 (75:19) 1. Intro 2. The Times They Are A-Changin’ 3. Like A Rolling Stone 4. Maggie’s Farm 5. Forever Young 6. Dead Man , Dead Man 7. I Dreamed I Saw St. Augustine 8. Simple Twist Of Fate 9. I’ll Be Your Baby Tonight 10. Watching The River Flow 11. Gotta Serve Somebody 12. Man Of Peace 13. I And I 14. Don’t Think Twice, It’s All Right 15. Tomorrow Is A Long Time 16. Heart Of Mine 17. In The Garden Disc 2 (71:42) 1. Knockin’ On Heaven’s Door 2. Chimes Of Freedom (with Roger McGuinn) 3. Rainy Day Women # 12 & 35 (with George Harrison)★Co-starring with George Harrison 4. Go Down, Moses BONUS TRACKS Frankenhalle, Nuremberg, West Germany 16th September 1987 5. I Want You 6. Joey Jaahalli, Helsinki, Finland 23rd September 1987 7. Desolation Row 8. Blowin’ In The Wind Johanneshovs Isstadion, Stockholm, Sweden 26th September 1987 9. Emotionally Yours 10. Seeing The Real You At Last International Arena, National Exhibition Center, Birmingham, UK 10th October 1987 11 Senor (Tales Of Yankee Power) 12. Pledging My Time Hanns Martin Schleyerhalle, Stuttgart, West Germany 29th September 1987 13. Eight Miles High 14. Mr. Tambourine Man Bob Dylan (vocal & guitar) with Tom Petty & The Heartbreakers Tom Petty (guitar), Mike Campbell (guitar), Benmont Tench (keyboards), Howie Epstein (bass), Stan Lynch (drums) with The Queens Of Rhythm: Carolyn Dennis, Queen Esther Marrow, Madelyn Quebec (backing vocals).
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