Little Feat/GA,USA 1975 Upgrade

LITTLE FEAT in 1975, which greatly expanded its range with “THE LAST RECORD ALBUM”. The classic soundboard album is now available as an upgrade. This work includes “May 23, 1975 Atlanta Performance”. This is a stereo soundboard recording. FM broadcasting has been known for a long time and is a classic that has been repeatedly upgraded over the years, but this work is its latest and highest peak edition. Before we look at the quality, first of all is the show position. Let’s look back at the era of “THE LAST RECORD ALBUM”, which also included jazz/fusion tastes. ・January 9th – February 5th: Europe (12 performances) ・April 11th – May 23rd: North America #1 (7 performances)←★Coco★ ・July 19th: Atlanta performance ・September 1st Sun: Wembley Stadium performance [“THE LAST RECORD ALBUM” released on October 17th] October 10th – December 28th: ​​North America #2 (34 performances) This is LITTLE FEAT’s 1975. In conjunction with the release of “THE LAST RECORD ALBUM”, a large-scale US tour will be held, “North America #2”. This work was a concert on the final day of “North America #1” held nearly half a year before the album was released. As mentioned above, the sound board sound source has been upgraded several times, but the highest peak so far was the 1st generation reel tape. This work is also the same 1st gene reel, but it has been remastered by overseas enthusiasts. And the close-up is vivid. In the conventional version, not only the pitch was out of order, but the sound sounded like a vintage broadcast, but this work has been vividly reborn. It’s not just sound pressure equalization. The large remaining hum has completely disappeared, and the hiss has been removed to the limit that does not affect the performance sound. On top of that, the outline of each note is also clear. As a result, the peaks do not jump out, the edges that stand out in the silent parts become sharper, and the atmosphere itself becomes clear. Due to this sharpness, the treble shines brightly, and the bass rumble is also reborn as a clear sound with a vibe level. If I were to compare this visually, the previous edition was like a mellow but sepia-colored photograph, whereas this album feels like it’s in full color. Everything has been reborn, but the guitars of Lowell George and Paul Barea are especially striking. The slide, which is synonymous with Lowell, is glossy and beautiful, and Barea’s unique picking is also directly connected to the brain. There was a sense of closeness in the conventional version, but the vintage sound that enveloped the whole thing was wiped away and became transparent, so the direct feeling of the core was improved to a new level. The intertwining of the two guitars also feels three-dimensional and is several times more vivid. Although it is a little different from the official work style, it has definitely transformed into the best stereo sound board. The reborn sound depicts a passionate performance from the mid-1970s that included gorgeous guests. Although it is a standard now, it is also a good opportunity, so let’s organize the set now. ●SAILIN’ SHOES (3 songs)・Tripe Face Boogie/Willin’/Teenage Nervous Breakdown ●DIXIE CHICKEN (4 songs)・On Your Way Down/Dixie Chicken・Songs that cannot be heard on WAITING FOR COLUMBUS: Juliette/Lafayette Railroad ●FEATS DON ‘T FAIL ME NOW (4 songs)・Skin It Back/Rock and Roll Doctor/Oh Atlanta/Feats Don’t Fail Me Now●THE LAST RECORD ALBUM (3 songs)・One Love Stand/Day Or Night/All That You Dream… and it looks like this. Three songs have been selected from the new album that has not yet been released, and it is a well-balanced composition from the four consecutive works from “SAILIN’ SHOES” to “THE LAST RECORD ALBUM”. In particular, the “DIXIE CHICKEN” number is delicious, and “Juliette” and “Lafayette Railroad”, which cannot be heard even in the traditional live work “WAITING FOR COLUMBUS” that was deluxe in 2002, are also shown. In addition to such a set, what makes this Atlanta performance special is the guests. Bonnie Raitt, J.D. Souther, and Myron Lefeb appear in the final part of the main set, “Dixie Chicken,” and perform an extended, deluxe version of the song that lasts about 12 minutes in a secret hot spring. Then, with the three of them joining in, they burst into a medley of “Tripe Face Boogie,” making the two songs a huge highlight of over 20 minutes. However, this work does not end. The three of them reappeared on stage for the encore, and Freebo, who is also known for backing Bonnie, joined them. They will also perform “Feats Don’t Fail Me Now” and “Willin’” with an even more luxurious ensemble. This is a superb live album with an upgraded standard soundboard that includes luxurious guests. Remastering doesn’t necessarily make any sound source better; it has to have a unique sound that goes well with remastering, and it’s essential to have the sense to discern that and the skill to refine it. This work is a great success example where all of these elements come together. This is the highest-quality album, with a clarity that was unimaginable from the original sound, and the performance sounds wonderful. A masterpiece that makes you want to applaud the masterful work of overseas enthusiasts. Live at Fox Theatre, Atlanta, Georgia, USA 23rd May 1975 STEREO SBD(UPGRADE) Disc 1(45:54) 1. Introduction 2. Skin It Back 3. One Love Stand 4. Rock and Roll Doctor 5. Oh Atlanta 6. On Your Way Down 7. Juliette 8. Lafayette Railroad 9. Day Or Night Disc 2(44:08) 1. All That You Dream 2. Dixie Chicken (with Bonnie Raitt, John David Souther, Mylon LeFevre) 3. Tripe Face Boogie (with Bonnie Raitt, John David Souther, Mylon LeFevre) 4. Feats Don’t Fail Me Now (with Bonnie Raitt, John David Souther, Mylon LeFevre, Freebo) 5. Willin’ (with Bonnie Raitt, John David Souther, Mylon LeFevre) , Freebo) 6. Teenage Nervous Breakdown Lowell George – vocals, guitar, harmonica Richie Hayward – drums, backing vocals Bill Payne – vocals, keyboards Paul Barrere – vocals, guitar Sam Clayton – congas, vocals, percussion Kenny Gradney – bass STEREO SOUNDBOARD RECORDING