David Bowie/UK 6.23.1987

The prestigious “Kinney” traveled to England and recorded Bowie in 1987. The final masterpiece of the collection, the original cassette, has been newly discovered. This work includes “June 23, 1987: Sunderland Performance”. This is a full audience recording that tells the whole story. The other day, “WEMBLEY STADIUM 1987”, which completely recorded “Wembley Stadium 2 performances” which is special in Bowie’s career, became very popular, and the sequel “CARDIFF 1987” will be released at the same time. For the overall picture of the world tour, please see the explanation of “CARDIFF 1987”, but here we will focus on the European tour and organize the relationships between the various works. [“NEVER LET ME DOWN” released on April 20th]・May 29th – June 16th (10 continental performances)・June 19th: UK “WEMBLEY STADIUM 1987” Disc 1-2・June 20th: UK “WEMBLEY STADIUM 1987” Disc 3-4 ・June 21st: UK “CARDIFF 1987″ ・June 23rd: Sunderland performance in the UK ←★This work★ ・June 27th – July 8th (8 continental performances)・July 11th-15th (3 UK performances) ・July 17th + 18th (2 continental performances) This is the 1987 European tour. The main flow is “Continent 10 → UK 4 → Continent 8 → UK 3 → Continent 2”, and the first half of the UK version has 4 consecutive performances. You can complete those four performances with the trilogy “WEMBLEY STADIUM 1987 + CARDIFF 1987 + this work” recorded by Kinney. This work recorded at such a show is one of the special works among the sister works. The clear air and beautiful sound that are exclusive patents of the prestigious Kinney are common to the trilogy, but this work is a masterpiece with a much more powerful and direct feel than the previous two works. The reason for this is probably the venue. “Roker Park,” the location of this film, is a soccer stadium with no ceiling or walls. In that respect, the previous two games are the same, but the size is very different, with a capacity of 35,000 people, about half of Wembley Stadium. That sense of scale is also reflected in the sound, and the playing and singing voices sound much closer than the previous two works (though of course it is not as close as a sound board). That flavor is especially noticeable in the vocals and guitar. The performance itself felt solid in the previous two works, but it is undeniable that the sounds of Peter Frampton and Carlos Alomar are mixed when they overlap. However, in this work, you can feel the line in the melody drawn by each guitar. And Bowie’s singing voice. If the previous two albums were at the level where you could “understand even the lyrics,” this album feels like you can “understand the nuances” contained in those words. Of course, proximity is not everything, but this work is the best in terms of ease of listening in a general sense. The show drawn with such sound is a full show of Bowie enjoying a huge venue in his home country of England. The set is the same as “WEMBLEY STADIUM 1987 (first day)” and “CARDIFF 1987”, so repeating will be avoided, but you can enjoy the hit parade with a direct sound. And Bowie’s singing voice. Bowie, who successfully held three days of gigantic concerts at Wembley Stadium x 2 (total of 140,000 people) and Cardiff (50,000 people), and was in good shape with one day off in between, is in perfect condition. He sings a collection of famous songs with a singing voice that is more relaxed than enthusiastic, and his dignified show performance is as stable as a yokozuna sumo match. On the other hand, perhaps because I will have three days off after this (as per the schedule above), I feel a sense of freedom and freedom. In this respect, this work is exceptionally easy to listen to, making it the most fulfilling live album in the trilogy. This trilogy is all made by the famous Kinney, so the sound is wonderful, and their individuality is not very different. However, if you still have to choose one, I would recommend this work. There is no doubt that “WEMBLEY STADIUM 1987” is a symbolic work in terms of historical significance, spirit, and huge spectacle, but this work has close sounds that are easy to listen to, and the show is full of fulfillment. It’s more of a live album for everyone. “GLASS SPIDER TOUR” was a highlight of Bowie’s career. It is a masterpiece that allows you to experience a tour that was not realized in Japan with prestigious magical sound. Of course, I’d like you to enjoy the trilogy together, but if you’re having trouble deciding, I’d recommend this one first. Live at Roker Park, Sunderland, UK 23rd June 1987 PERFECT SOUND(from Original Masters) Disc 1 (59:09) 1. Purple Haze Intro 2. Carlos Guitar Intro 3. Up The Hill Backwards 4. Glass Spider 5. Up The Hill Backwards (reprise) 6. Day-In Day-Out 7. Bang Bang 8. Absolute Beginners 9. Loving The Alien 10. China Girl 11. Fashion 12. Scary Monsters (And Super Creeps) 13. All The Madmen 14. Never Let Me Down Disc 2 (59:45) 1. Big Brother 2. ’87 And Cry 3. “Heroes” 4. Time Will Crawl 5. Band Introductions 6. Beat Of Your Drum 7. Sons Of The Silent Age 8. Dancing With The Big Boys 9. Zeroes 10. Let’s Dance 11. Fame 12. Blue Jean 13. Modern Love