David Bowie/UK 1997

Bowie in 1997, when he was 50 years old and attacking a new sound. Two masterpiece live albums conveying such “EARTHLING TOUR” will be released at the same time. This work is the best audience recording of the first “Nottingham performance on August 5, 1997”. The biggest point of this work is the sound, which is hard to believe that it is an audience recording, but first of all, the show position. Let’s check out the tour schedule at the time. [“EARTHLING” released on February 3rd] ・May 17th – June 5th: Warm-up gig (4 performances) ・June 7th – August 14th: Europe (46 performances) ←★Here★・9 October 6th – October 23rd: North America (29 performances) October 31st – November 7th: South America (5 performances) This is the overall picture of “EARTHLING TOUR 1997”. The tour is roughly divided into “Europe” and “North and South America”, and the Nottingham performance of this work is, so to speak, the end of the beginning. This was the 40th concert of the “Europe” leg. This work recorded at such a show is truly the best audience recording. In any case, it approaches in front of me with a strong, strong sound, with no sense of distance, and a thick, deep bass sound is heard. There is a big round of applause at the scene, but the performance sound and singing voice are so powerful that they cannot be heard in the audience recording. Often in TV studio live shows, the applause from the in-house studio is often mixed in louder, and it’s just like that. The show begins with the acoustic “Quicksand”, but whether the venue is excited by the appearance of Bowie or a large chorus occurs, the cutting of the acoustic guitar can be heard sharply, and Bowie’s simple and dandy singing voice is also closely attached. And when the band comes in, it’s even more amazing. The bass is so powerful that it seems like it’s going to distort at any moment, but it roars with such force that it doesn’t distort, and yet Bowie’s singing voice cuts through everything and jumps straight into your ears. No matter how many times you listen to it, it’s a level that makes you wonder if it’s really an audience recording, and it’s the best sound that goes like a so-called “sound board” on the ground. And the show drawn with such a sound is also wonderful. Speaking of the European leg of “EARTHLING TOUR”, the final day’s sound board “SUCK ON THIS: BUDAPEST 1997” reigns as a symbol, but this work can be said to be a prestigious and expanded version of it. Now, let’s organize the sets while comparing them. ●HUNKY DORY (2 songs)・Quicksand/Queen Bitch ●SCARY MONSTERS (2 songs)・Fashion/Scary Monsters (And Super Creeps)●1. OUTSIDE (6 songs)・Hallo Spaceboy・Songs that cannot be heard on SUCK ON THIS: The Motel／Strangers When We Meet／The Voyeur Of Utter Destruction (As Beauty)／Outside／The Heart’s Filthy Lesson ●EARTHLING (6 songs)・I’m Afraid Of Americans／Battle For Britain (The Letter)／Seven Years In Tibet／ Looking For Satellites/Little Wonder・SUCK Songs that cannot be heard on THIS: Dead Man Walking ●Others (8 songs)・The Man Who Sold The World/The Jean Genie/White Light/White Heat/Fame/Stay/Under Pressure・SUCK Songs that can’t be heard on ON THIS: Look Back In Anger/O Superman…and it goes like this. The only thing on the Budapest performance soundboard that is not in this work is “I’m Waiting For The Man”, and the reverse number is as many as 8 songs. It is delicious to be able to listen to “Dead Man Walking” and “O Superman” only for this tour, but what stands out even more is the large number of “1. OUTSIDE”. The volume of 6 songs, which is comparable to the main song “EARTHLING”, is distinctive, but the flow is also amazing. Starting from “The Motel” in the latter half of the show, the song is repeated in succession without any songs from other works being included, forming the approximately 30-minute “OUTSIDE section.” Although the order of the songs is not necessarily according to the album, it is a major unique feature of this work. And the mood that envelops such a show is also wonderful. “Rock City” was a nightclub in Nottingham that had a capacity of about 2,000 people. It’s a very small box for Bowie, and it’s filled with only hardcore fans. The applause given to each song was wonderfully homey, and the chorus was strong. When talking about the sound, I wrote that it was “just like a TV station’s studio live”, and the mood of the venue also plays a role. Wasn’t that why he was chosen by the fan club? A wonderful site that makes you think. It is a live album where you can immerse your whole body in the best sound. Anyway, a set with the best sound board-like sound and plenty of 90’s feel. This is a masterpiece of a live album that allows you to enjoy it in a warm atmosphere at home. Again, no matter how grand the applause of this work is, there is no nearby singing voice, and the performance sound and Bowie’s singing voice are so thick that they overwhelm everything. Still, you can enjoy the show while being surrounded by warm fans. This is a record that has all the flavors of a live album. Rock City, Nottingham, UK 5th August 1997 TRULY PERFECT SOUND Disc 1 (53:37) 1. Quicksand 2. The Man Who Sold The World 3. Queen Bitch 4. The Jean Genie 5. I’m Afraid Of Americans 6. Battle For Britain (The Letter) 7. Fashion 8. Seven Years In Tibet 9. Band Introductions 10. Fame 11. Stay Disc 2 (76:21) 1. Looking For Satellites 2. Under Pressure 3. The Motel 4. Strangers When We Meet 5. The Voyeur Of Utter Destruction (As Beauty) 6. Outside 7. The Hearts Filthy Lesson 8. Hallo Spaceboy 9. Scary Monsters (And Super Creeps) 10. Little Wonder 11. Band Introductions 12. Dead Man Walking 13. White Light / White Heat 14. O Superman 15. Look Back In Anger David Bowie; Vocals/Guitar Reeves Gabrels: Guitar Gail Ann Dorsey: Bass/Vocals Zachary Alford: Drums Mike Garson: Keyboards