Description
Many people may have experienced it in real time, but George Harrison’s 1991 Japan tour has become a legend. Moreover, the formation with the entire Eric Clapton band backing him up has also become a legendary tour over time. Less than half a year after this Japan tour, George took to the stage in his native England. That was a live performance at the Royal Albert Hall on April 6, 1992. This was held as a support concert for the political party “For Natural Law Party” that George supported at the time. This concert has also become legendary now. This is because this day ended up being his last live show as a solo concert. After the breakup of the Beatles, George, along with John, became a reluctant artist to perform live, especially from the late 1970s. Nevertheless, after John’s death, he took to the stage sporadically in the 1980s, and looking back now, it was a period when George was surprisingly heading to the stage from 1991 to 1992. After the 1992 Royal Albert Hall (hereinafter referred to as RAH), George participated in the Bob Dylan 30th Anniversary Concert six months later, so at the time, it was easy to mistakenly think that George had finally returned to active stage activities. However, after 1993, he was involved in the Beatles Anthology project and his own health problems, and as a result, the RAH concert became his last live performance. Regarding the 1992 RAH show, two items were produced in real time from two types of audience recordings. The first was “HARI & THE HIJACK BAND,” which recorded the entire stage of Joe Walsh and Gary Moore at the opening, and the second was “OVEREXPOSED AND HYPNOTIZED,” which recorded only George’s set. Both were highly acclaimed for the clarity unique to audience recordings using DAT tapes, which were causing a storm at the time, and the second was the one in which the show was completely recorded, and copies were produced many times. In this way, two types of DAT recordings were known for the 1992 RAH, but this time we have unearthed a completely new audience recording master tape that is completely different from both of them. Of course, it has never been available among traders before, and although a familiar British heavyweight taper went to RAH to record it, it has been kept secret for 25 years. What is noteworthy about the new audience recording released this time is that it was recorded using two high-position cassettes, not DAT like the past items. Compared to DAT, which allows you to keep the tape running for a long time, cassettes, which require tape changes, are at a disadvantage. In fact, the sound source this time has cuts between songs that were not included in the past items, after the end of Gary Moore’s “The Blues Is Alright” and after George’s “Here Comes The Sun”. However, fortunately, none of them have invaded the performance, and I can only take my hat off to the wonderful work. What is even more noteworthy is the sound quality of this recording. The natural high-pitched extension and clarity of the analog recording of the high-position cassette are a major attraction that could not be experienced with past items and recordings. In the 1990s, digital clarity was emphasized, and the two past items were evaluated for their clarity, but when listening to them now, they lack thickness or the distinctive “donshari” feeling of digital is a concern. In that respect, the natural clarity of this cassette recording is exceptional. In terms of sound image, there are some parts where the past items feel closer, but the comfort of listening that conveys the realism of total live music, and especially now that cassette tapes are making a comeback, the wonderful sound quality of this sound source is undoubtedly worthy of a release on a limited press CD. In addition, since this day was not a pure concert but also a political party support event, the audience’s reaction was quieter than the previous year’s visit to Japan, and even sometimes it seemed as if they were “down”. In particular, Joe Walsh, who was the first to perform, played only his signature songs during his short performance, and more than half of the songs were classics from his Eagles days, so it was surprising how indifferent the reaction was. However, as a viewer of live music, there is no better environment to listen to carefully. In that respect, Gary Moore’s set was in the midst of the great success of his blues line, and his performance was full of confidence that did not care about such a indifferent reaction, which was the highlight. As it was an opening act, it felt like his fans overlooked the stage, but I hope that you will reaffirm his excellent form with this release. As a result, George’s stage was the last performance, but Clapton, who had finished recording “UNPLUGGED” and was taking a break before the start of the 1992 tour, did not participate, and Nathan East also did not participate. Therefore, he recruited Mike Campbell from Tom Petty’s Heartbreakers, a fellow Wilburys member, for lead guitar, and Will Lee, who is famous as a session bassist, for bass. Furthermore, the two songs “If I Needed Someone” and “Dark Horse” were cut, so there are differences from the Japanese performances everywhere. After “Taxman”, George thanks the audience in his home country in Japanese, saying “Domo Arigatou”, which is a familiar scene for enthusiasts, and introducing the band members after the song is also a novelty that was not present in the Japanese performances. There are also differences in the band ensemble, and in the second half of “Isn’t It Pity”, unlike the Japanese performance, Greg Philligaines also sings, and you can hear his passionate singing that makes you think he is Billy Preston. Not only is it unique that the next “Devil’s Radio” closes the encore, but Campbell’s craftsmanship, who does not play as flashy phrases as Clapton, is also fresh. And the best part is “While My Guitar Gently Weeps”. Moore joins the performance, and while he is conscious of Clapton’s phrases, he still has his own unique crying play, which is a rare scene. Not only that, but in the Japanese performance, there was a clear development in which the guitar solo was transferred from Clapton to George at the end, but here Moore played from start to finish, and George only put in modest phrases in between. Now that not only George but even Moore has passed away, this can also be called a legendary moment. From the 1992 RAH show, which had far fewer items compared to the Japanese performance, please enjoy both the splendor of this show with a newly excavated audience of analog recordings that will surprise enthusiasts around the world, and the exceptionally comfortable sound quality that is in a different dimension from DAT! ★ Recorded directly from the recorder’s master cassette (THAT’S MRX PRO 90 (Metal Position: Type IV) x 2 ★ Amazing, completely new sound source, and the best sound quality ever! Live at Royal Albert Hall London, UK 6th April 1992 TRULY PERFECT SOUND (from Original Masters) Disc 1 (70:15) 1. Introduction Joe Walsh: 2. Pretty Maids All In A Row 3. In the City 4. Life in the Fast Lane 5. Funk #49 6. Rocky Mountain Way Gary Moore: 7. Walking By Myself 8. The Sky is Crying 9. The Blues is Alright 10. Still Got the Blues George Harrison: 11. I Want to Tell You 12. Old Brown Shoe 13. Taxman 14. Member Introduction 15. Give Me Love Disc 2 (77:18) 1. Something 2. What is Life 3. Piggies 4. Got My Mind Set On You 5. Cloud Nine 6. Here Comes the Sun 7. My Sweet Lord 8. All Those Years Ago 9. Cheer Down 10. Isn’t It a Pity 11. Devil’s Radio 12. Introductions 13. While My Guitar Gently Weeps (with Ringo Starr, Gary Moore) 14. Roll Over Beethoven (with Ringo Starr, Joe Walsh, Gary Moore) 15. Drum Solo (Ringo Starr) 16. Roll Over Beethoven (with Dhani Harrison) 17. Outro. George Harrison with The Hijack Band: Mike Campbell – guitar Andy Fairweather Low – guitar Ray Cooper – Percussion Greg Phillinganes – Keyboards Will Lee – Bass Steve Ferrone – Drums Chuck Leavell – Keyboards Katie Kissoon – Vocal Tessa Niles – Vocal
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