Hall & Oates/IL, USA 1982

Hall & Oates made a further leap forward with the dawn of the 1980s. Introducing a masterpiece live album where you can enjoy the full show of the early 80’s. This work was recorded at “Chicago performance on March 20, 1982”. This is the best audience recording. Speaking of 1982, it was the time when “PRIVATE EYES TOUR” and “H2O TOUR” intersected, and the visit to Japan was also realized. First, let’s check out the show’s position from an overview of its activities. 1981 [“PRIVATE EYES” released on September 1st] September 13th – November 23rd: North America #1 (35 performances) 1982 January 28th + 30th: Sanremo Music Festival February 11th – April 25th: North America #2 (40 performances) ←★Coco★《“H2O” released on October 4th》 ・October 12th-19th: UK (7 performances) ・October 25th-November 24th : Japan/Australia (15 performances) This is the progress from the release of “PRIVATE EYES” to the end of 1982. The performance in Japan was after the release of “H2O”, but the Chicago performance of this work was an act of “PRIVATE EYES TOUR” before that. This was the 25th concert of “North America #2″. This work recorded at such a show is also the latest installment of the now-talked-about superb master series “COVID-19 QUARANTINE RELEASE!” I won’t repeat myself as I’ve been introducing masterpieces from various artists/bands over the past few weeks, but this series has two main characteristics: one is an ultra-tight sound with almost no reverberation; . The other type is a type that gives off a spectacular feel with its sparkling and transparent hall sound. And this work is the former. After all, it must have been an audience recording because the person himself says he recorded it himself, but the core of it is extremely thick and there is no sense of distance, and even if you listen carefully with headphones, you’ll think, “This isn’t an FM broadcast.” “Isn’t it just an overdub of raw cheers?” “!?” were running around in my head. In fact, it’s not just close-contact sound, but the separation is vivid and the stereo effect is great. Even if it is described as “excellent”, there are audience recordings with a wide variety of individualities, and it is an extremely “soundboard-like” type of recording. What is depicted with such a close sound is a lively full show that has just entered its golden age. Speaking of “PRIVATE EYES TOUR”, the official excavation version “GREATEST HITS LIVE” is famous, but that matching bum is just an excerpt version. In this work, you can enjoy plenty of repertoire that cannot be heard there. Let’s organize the sets while comparing them here. 70’s (4 songs)・Abundant Luncheonette: She’s Gone・Sara Smile (★)・Rock’n Soul: Rich Girl (★)・Modern Pop: Wait For Me 80’s (10 songs)・Modern・Voices: How Does It Feel to Be Back/Diddy Doo Wop (I Hear the Voices)/Kiss On My List/You’ve Lost That Lovin’ Feelin’/You Make My Dreams/United State ・Private Eyes: Did It in a Minute (★) / Mano a Mano / I Can’t Go for That (No Can Do) / Private Eyes Covers and others: Going To A Go-Go (★) / Ooh Poo Pah Doo (★) / Funky Broadway ( ★) *Note: Songs marked with “★” cannot be heard on the official version of “GREATEST HITS LIVE”. …and it looks like this. Although the recording date of “GREATEST HITS LIVE” is not specified, this work seems to be an expanded version of that. All the songs that could be heard on the official edition are covered, and the repertoire has also been expanded. In terms of balance, in the 1970s, only the essential songs from each album were carefully selected, and the two most recent hits, “VOICE” and “PRIVATE EYES”, were played in large numbers. Focusing on the US No. 1 hit “Kiss On My List,” “I Can’t Go for That (No Can Do),” and “Private Eyes,” they will play the latest hits of the time in a refreshing manner. The classics such as “Sara Smile,” “Rich Girl,” and “Did It in a Minute” that can’t be heard on “GREATEST HITS LIVE” are delicious, but what’s interesting is the jam section in the middle of the show. 20 minutes of freaky music, freely interweaving songs such as “Going To A Go-Go” by THE MIRACLES, “Ooh Poo Pah Doo” by Ike & Tina Turner, and “Funky Broadway” by Dyke & THE BLAZERS. A fun time unfolds. Although these parts are completely omitted in “GREATEST HITS LIVE”, it is actually a section where the momentum and great success mood of the heyday is exposed. In this work, you can fully enjoy the real pleasure of such a full recording with the best sound. A full show that goes beyond just the greatest hits. This is a masterpiece of a live album that allows you to experience the best of them at the entrance of their heyday. This is a special one in the “COVID-19 QUARANTINE RELEASE!” series, which is exciting enthusiasts all over the world. Live at the Arie Crown Theater, Chicago, IL, USA 20th March 1982 ULTIMATE SOUND Disc 1(37:07) 1. Intro 2. Did It in a Minute 3. How Does It Feel to Be Back 4. Diddy Doo Wop 5. Mano a Mano 6. Rich Girl 7. She’s Gone 8. Kiss On My List 9. I Can’t Go for That (No Can Do) Disc 2(50:52) 1. MC 2. Going To A Go-Go 3 MC 4. Ooh Poo Pah Doo 5. Guitar Jam 6. Funky Broadway 7. Sara Smile 8. Wait For Me 9. Private Eyes 10. You’ve Lost That Lovin’ Feelin’ 11. You Make My Dreams 12. United State Daryl Hall – guitars, keyboards, vocals John Oates – guitars, vocals G.E. Smith – guitars Charlie DeChant – saxophone, keyboards Tom Wolk – bass Mickey Curry – drums