Neil Young & the Bluenotes/NY,USA 1988 2Days

In 1988, Neil formed the Blue Notes and began performing live performances exclusively with new songs based on jazz and blues. After all, not only is it a new song, but the musicality is a complete change from the wild rock he had been playing with Crazy Horse until the previous year, so he dares to plan a live blues show at a small club. At the time, Neil had just gotten tired of the music he had been working with with Crazy Horse for many years, and was greatly inspired by their bold change of direction and the tight backing of the Blue Notes in 1988, and created a great live show. was carried out. The tour started with clubs on the West Coast, but by the time they reached New York in the east, the Blue Notes’ live sound and performance became even more amazing. In New York, a club called World was chosen, where the final performance was held for three consecutive days plus one day apart. Moreover, except for the final performance, the set consisted of two performances a day. Moreover, all of these shows were recorded as live recordings under Neil’s instructions, but unfortunately no releases were made that took advantage of them, and some fragmentary releases were also made separately from the same club tour. The recording at the venue was used. Since the fact of the recording was known from that time, for a long time fans could only hear about club gigs in the world through audience recordings. However, starting with the early show on the 17th on the familiar “Wolfgang’s Vault” site, stereo soundboard recordings of three stages were released at once! The remaining stages were the early and late stages on the 18th. It’s surprising just that a phantom sound source suddenly appeared, but it doesn’t stop there. After all, the sound quality is excellent. This is because it is a perfect sound source recorded with multi-tracks and thoroughly mixed down! Even if it were released as it is in the “Neil Young Archives” series, there would be no discomfort at all with the superb sound quality. The fact that the same site published it may have been based on the assumption that it would be broadcast in some form. Anyway, the sound quality is great, so you can easily hear the difference in the atmosphere of each of the three shows. First of all, the early show on the 17th is the first of a total of six stages over three consecutive days, so you can hear a clearly restrained performance. However, I think the good thing about the music is that it doesn’t look like it’s being sloppy, which is different from the wild rock’n’roll with Crazy Horse. I get the impression that they tried to play every song in a bluesy way that makes it enjoyable. Although the early show on the 18th is the first stage in that respect, it already has a pressurized atmosphere, and you can listen to the performance as if the pressure on your shoulders has been loosened. However, Neil’s guitar at the end was quite high, and it was so intense that I couldn’t believe that the next episode was coming. And the late show on the 18th can be said to be the best stage where you can literally hear rock-solid performances. Moreover, since the late show of the previous day is not included, it is also attractive that you can thoroughly enjoy the stage of late show development starting from Welcome To The Big Room, which is the only one of these three stages. However, among these three soundboard recordings, there are missing parts in the recordings of Ain’t It The Truth on the 17th, Ten Men Workin’ and Twilight early on the 18th (this may be the reason why they did not see the light of day). yeah). Those cut parts were carefully supplemented with audience recordings from the same stage, achieving a complete recording of all episodes. In particular, Ten Men Workin’ on the 18th is missing the early part of the performance, so by recording it in a state where you can hear it completely from the band call before the performance begins, it has achieved an ease of listening that is incomparable to the original sound source. . On top of that, all the stages have a clearness that makes it impossible to tell whether there is a sound board or not, and the whole picture of the club gig that was said to be a illusion at the Blue Notes show, where the sound source of the summer tour has become the standard until now, is finally available. It becomes clear. Live at The World, New York City, NY. USA 17th & 18th April 1988 STEREO SBD Disc 1 17th April Early Show 1. Intro/Ten Men Workin’2. Married Man 3. Sunny Inside 4. Hey Hey 5. Band Introductions 6 Bad News 7. Ain’t It The Truth 8. Your Love Is Good To Me 9. Coupe De Ville 10. Life In The City 11. Soul Of A Woman 12. This Note’s For You Disc 2 18th April Early Show 1. Intro/Ten Men Workin’2. Find Another Shoulder 3. Married Man 4. Your Love Is Good To Me 5. One Thing 6. Ain’t It The Truth 7. Band Introductions 8. Sunny Inside 9. Twilight 10. Life In The City 11. This Note’s For You Disc 3 18th April Late Show 1. Welcome To The Big Room 2. High Heels 3. Hello Lonely Woman 4. Bad News 5. Hey Hey 6. Your Love Is Good To Me 7. Coupe De Ville 8. Life In The City 9. Soul Of A Woman 10. This Note’s For You 11. Encore/Audience 12. Ten Men Workin’ Neil Young – Vocals, Guitar, Harmonica Ben Keith – Alto Saxophone Larry Cragg – Baritone Saxophone Steve Lawrence – Tenor Saxophone Claude Cailliet – Trombone Tom Bray – Trumpet John Fumo – Trumpet Frank Sampedro – Organ, Vocals Rick Rosas – Bass Chad Cromwell – Drums