Heart/MA,USA 1976 Upgrade

HEART debuted with “DREAMBOAT ANNIE” in 1976 and was about to spread out into the world. The super best live album is now available. This work was recorded at “Boston performance on October 10, 1976”. It is a transcendental audience recording. I can’t lie, so I have no choice but to write “audience recording,” but the quality of this work is completely different from what you might imagine from that word. It’s one of the best sounds out there. I’m concerned about the quality, but first of all, the position of the show. Let’s look back at the schedule of 1976, when HEART’s first world tour was realized. ・January 1st + 13th: North America #1 (2 performances) ・April 9th ​​- June 28th: ​​North America #2 (13 performances) ・July 21st – September 4th: North America #3 (11 performances) )・September 24th-November 6th: North America #4 (18 performances) ←★Here★・November 13th-14th: Europe (5 performances)・December 9th: Inglewood performance This is HEART’s 1976 year. “DREAMBOAT ANNIE” was released in the fall of 1975, but immediately after that, they only performed a few showcase gigs. After that, they gradually picked up the pace and toured the United States, and it was around “North America #4” that they began to show every day and every night and travel incessantly. The Boston performance of this work was the 10th concert. This work recorded at such a show is a superb recording that will make you doubt your ears. Just on, direct, and beautiful. The core that flows into the ears is infinitely powerful, and with it, even the smallest details are super clear. Although I don’t feel any sense of distance at all, it’s not just a soundboard. The slight hall noise is incredibly detailed, giving the core shine and thickness while not hiding any details at all. In fact, this recording first appeared in 2007, and at that time, specialized magazines praised it, saying, “The sound quality is so high that you can’t believe it was an audience recording made in 1976,” and “This sound quality is far better than a bad soundboard.” It was praised as “awesome” and “definitely worth listening to.” In fact, speaking of early HEART, the sound boards of the Seattle performance in June 1975 and the Chicago performance in August 1976 are also left, and the pro shot of “THE SECOND ENDING” is also a standard. Even compared to many such line recordings, this recording is definitely better. Moreover, this work is the highest peak updated edition that has polished up such a miraculous recording with the latest mastering. Of course, if we taint the beauty of the original sound, we will lose the original sound, so we will preserve it as much as possible. On top of that, we organized each range and improved the sharpness. The closeness of the core becomes even more vivid in the beautiful beautiful sound, and the outline is clear. Nancy’s guitar solo is also very easy to listen to and sounds beautiful. Although it originally had a sound that surpassed the FM sound board, this work has both the vividness and elegance that it can be called “as if it were an official album.” The show drawn with such a sound is the early HEART that is precious and dazzling with its single-mindedness. From the beginning, the announcement “This is my first Boston performance. HEART of Seattle “MUSHROOM” Records!” is full of the times, and the show that unfolds from there is just wonderful. This day was the opening act for Jeff Beck, so it was a short set, condensing the young passion in about 45 minutes. The ensemble of Ann’s flute and Howard Reese’s keyboard is reminiscent of JETHRO TULL and FOCUS, and the powerful vocals and guitar are influenced by ZEP. The set is centered around five songs, which are half of the debut album “DREAMBOAT ANNIE,” but the one that catches the ear is the opening. The flow is avalanche from the progressive instrumental song to “Sing Child”, and this “Sing Child” alone includes a freaky guitar solo in the middle and is a great performance lasting over 10 minutes. Speaking of 1976, the momentum of European prog rock was beginning to fade, but in North America, RUSH’s “2112” and KANSAS’ “LEFTOVERTURE” were all the rage. It’s bold enough for such an era. At the beginning of the performance, you can hear the cry of “Jeff Beck!”, but even such a customer is beautifully defeated. Since only her debut work has been released, I thought it would be a “live version of DREAMBOAT ANNIE,” but the interloping “Magazine” is also worth listening to. Although it is introduced as a “new song that will be released soon,” the guitar solo “Silver Wheels” that will be officially recorded in “BEBE LE STRANGE” is added at the beginning, and then goes to the acoustic guitar intro of “Crazy On You”. “Crazy On You” does not explode like “GREATEST HITS/LIVE”, but the arrangement goes into “Magazine”. “Crazy On You” itself is played properly in the final highlight, but the flow unique to the early days where the repertoire is still limited is interesting. HEART in 1976, before the label transfer trial and the big hit of “Barracuda.” This is a live album that lets you enjoy the appearance of a hard rock band that runs with pure innocence in a super quality that surpasses the sound board. This is a piece that goes beyond whether you are a fan of HEART or not, and becomes a cultural heritage of 70’s rock itself. Live at Boston Music Hall, Boston, MA, USA 10th October 1976 ULTIMATE SOUND(UPGRADE) 1. Intro. 2. Instrumental 3. Sing Child 4. Dreamboat Annie 5. Silver Wheels 6. Crazy On You Intro. 7. Magazine 8. White Lightning & Wine 9. Magic Man 10. Crazy On You Ann Wilson – Vocals, Flute Nancy Wilson – Guitar, Vocals Roger Fisher – Lead Guitar Michael Derosier – Drums Steve Fossen – Bass, Vocals Howard Leese – Keyboards, Guitars, Vocals