David Bowie/CA,USA 1974 `itch Corrected Ver.

Along with the official version “David Live”… no, the super masterpiece sound board “September 5, 1974 Los Angeles performance” that has transcended and represented “DIAMOND DOGS TOUR”. This soundboard is truly a masterpiece among masterpieces. Not only is it known as a long-standing classic, but a part of it was featured in the documentary program “CRACKED ACTOR”, and last year it was finally made official as “CRACKED ACTOR (LIVE LOS ANGELES ’74)”. It is a super-excellent live album that has literally reigned as an official soundboard. At one time, it seemed that the role of the bootleg had ended since it was made official, but that was not actually the case. The official version was significantly cut down to about 97 minutes, but the underground version was over 10 minutes longer. This work is one of the best underground versions. From the moment you press the play button, it’s completely different from the official version. On the official version, the cheers of Bowie’s appearance erupt in about 10 seconds, but this work contains about 10 minutes of SE that was played before that. Don’t belittle it and think, “What’s this SE?” This is a masterpiece. The neighing of cats and dogs, the sound of bells, the noise of cars, strong winds, and the sound of shattering glass all play out, creating a realistic depiction of a desolate street corner. This scenery is the desolate feeling of the city that is connected to the later “LOW”, and it is a completely different world view from “DAVID LIVE”. Moreover, since it is a sound board, you can listen to the details of SE in detail like a studio work. I can understand the decision that it cannot be done without Bowie for even 10 minutes because it is an official work aimed at general listeners, but this is also a masterpiece take that depicts Bowie’s turning point. You can enjoy it at the highest quality. Of course, it’s not just the length. Even though it has been a classic for many years, the quality is top notch. As expected, the official version was super clear since Tony Visconti was involved, but the sound was a little too high-pitched, and the sound pressure emphasized a sharp modern feel down to the snare hit. On the other hand, this work has rich mid-bass that is very responsive, and the firm beat is really groovy. For example, for those who prefer the natural feel of LPs to studio works rather than the latest remastered CDs, this work may be much more comfortable to listen to. Moreover, among such underground sources, this work is the highest master master carefully selected by the leading expert on Bowie research and supervised the mastering. All of the previous releases were out of pitch, but this work is perfect in that respect as well. Although I do not deny the vivid (too?) official version, this work is a super-excellent sound board full of vintage Bowie-like charm. The show drawn with such a sound is also wonderful. There are a number of points, but in order to explain them, let’s first check the show position from the entire tour. [“DIAMOND DOGS” released in May] “DIAMOND DOGS TOUR” June 14th – July 20th: North America #1 (32 performances) “YOUNG AMERICANS” production begins in August》 September 2nd – 16th : North America #2 (12 performances) ←★Here★ “THE SOUL/PHILLY DOGS TOUR” October 5th – December 1st: North America #3 (34 performances) 1974 was a major turning point for Bowie. schedule. This tour is broadly divided into “DIAMOND DOGS TOUR” and “THE SOUL/PHILLY DOGS TOUR,” and the latter is also famous for deepening his commitment to soul music. This work is “North America #2” which is just before that. Actually, this is important. The official “DAVID LIVE” was “North America #1”, but the set changed from there. The first half is similar to “DAVID LIVE,” but in the second half, there are famous songs that could not be heard on “DAVID LIVE” such as “It’s Gonna Be Me,” “Space Oddity,” “Time,” and “John, I’m Only Dancing (Again).” is fired repeatedly. An ensemble is more than a set. The band has grown to 17 members, including the chorus, and Carlos Alomar is also the guitarist. And Bowie himself, who opens up such a new chapter, is wonderful. In fact, even though “DAVID LIVE” is a traditional live album, it lacks ambition and leaves a strong impression. However, Bowie in this work is full of enthusiasm and lets you hear the singing voice of his soul. Although it has been less than two months since “DAVID LIVE”, I can see that I am grateful for the joy of meeting my future ally, and it is truly a turning point moment. The highest peak of a super masterpiece sound board that has not lost its value even though it has been made official. This is a superlative piece that allows you to enjoy passionate singing that opens a new door by meeting an ally, even though it is on the verge of entering the soul era. Live at Universal Amphitheater, Los Angeles, CA, USA 5th September 1974 STEREO SBD(LONGER & BETTER) *Pitch Corrected Version Disc 1 (54:48) 1. Intro 2. 1984 3. Rebel Rebel 4. Moonage Daydream 5. Sweet Thing 6. Changes 7. Suffragette City 8. Aladdin Sane (1913-1938-197?) 9. All The Young Dudes 10. Cracked Actor 11. Rock ‘n’ Roll With Me Disc 2 (53:39) 1. Knock On Wood 2. It’s Gonna Be Me 3. Space Oddity 4. Diamond Dogs 5. Big Brother 6. Time 7. The Jean Genie 8. Rock ‘n’ Roll Suicide 9. Band Introductions 10. John, I’m Only Dancing (Again) STEREO SOUNDBOARD RECORDING David Bowie – vocals Michael Kamen – electric piano, Moog synthesizer, oboe Mike Garson – piano, mellotron Earl Slick – guitar Carlos Alomar – guitar rhythm David Sanborn – alto saxophone, flute Richard Grando – baritone saxophone, flute Doug Rauch – bass Greg Errico – drums Pablo Rosario – percussion Gui Andrisano – backing vocals Warren Peace – backing vocals Ava Cherry – backing vocals Robin Clark – backing vocals Anthony Hinton – backing vocals Diane Sumler – backing vocals Luther Vandross – backing vocals