Oasis/Activities in New York 1997 NY,USA 1997 Collection

After completing their European tour in September 1997, Oasis will head to the United States in early October. The purpose was not to tour, but to promote the just-released album “BE HERE NOW.” During this visit to the United States, the schedule consisted of only two television appearances and two performances at New York’s Hammerstein Ballroom. This work is a collection of all of them. As it was a promotion, “Don’t Go Away” was premiered live at this time. October 7th is a very excellent high-quality audience sound source, and October 8th is a perfect sound board sound source. Although it was not released on the first day, October 7th, it is known among enthusiasts as a high-quality DAT recording, and it will be recorded here for the first time. Indeed, the surrounding environment is good, the sound is close and the balance is excellent, and although it is certainly an audience recording, it is comparable to a soundboard sound source, and is actually different from the sandboard sound source recorded on discs 3 & 4. It has an attractive sense of presence and spaciousness. The second day, October 8th, was broadcast, and there have been several previously released editions. I listened to them for this release, but all of them had flaws in content or sound quality, and I am proud that this is the first recording that can be called perfect. The sound source of this October 8th is divided into two parts: the broadcast version and the broadcast original version. The former has a program jingle inserted in the middle, but the latter does not. So, is the broadcast master recording perfect? ​​Curiously, there are MCs that are not included in the master broadcast sound source, and there are many things that are unknown about the circumstances in which these sound sources were recorded and distributed. And I think the best one that has already been released is “NYC”, which is famous for Prince’s title. Although this title also has many shortcomings, since then there have been no titles that include the same performance, and it is still considered the best. When you listen to “NYC,” the first thing you notice is the extremely deafening high notes, the noise-like emphasis on the midrange, and the sound pressure that expands the entire range to a “seaweed state”. be. Flashy sounds like this may have been popular more than 20 years ago when this title was released, but in the Reiwa era, where people tend to listen to natural sounds and listen with headphones, such tiring sounds are no longer popular. would be completely unacceptable. Although it may be unavoidable to some extent due to the characteristics of the original sound source, “NYC” is clearly overdone. Compared to “NYC,” this work has less high-pitched sounds, and there is no clunking noise in the midrange. And when you look at the sound waveform, the sound is created with plenty of leeway in a well-defined range. And the extremely slow pitch deviation (you can hear MC Liam’s voice being deep and low), which was another flaw in “NYC”, is now properly accurate in this work. As mentioned above, many people who cite the drawbacks are the sound quality and pitch. However, there are some problems in terms of content that make it not the best. Titles that include broadcast sound sources, and “NYC” that was recorded from broadcast master discs, all of the previously released discs are in the middle of “Don’t Look Back In Anger”, and although it is only a little short, there is a guitar song just before the song “Sari Kyanwe”. The solo is missing. “NYC” includes a pinch of that part, but it is definitely missing, although it is momentary, and this is the biggest drawback in terms of content, which makes you feel bored while listening to it. The feature of this work is that there is no such omission. Also, in the MC part before “D’You Know What I Mean”, Liam says something that is not suitable for broadcast, so that part was intentionally deleted. The original sound source of this work was in the same state, so here we completely reproduce Liam’s inappropriate MC by supplementing it with the audience sound source of the same day. “I want to be a part of this city. I’m starting a new life in the city that never sleeps. I’m going to be number one here. If I can do it in this city, I can do it in any city. It’s up to me. New York. , New York” European tour in September, and a new European tour starting in November, but we will have to wait until January 1998 for the full-fledged US tour to begin. The two performances in October 1997 and the two TV appearances included in this work are perhaps the best gift they can give to their fans in America, the world’s largest market. HAMMERSTEIN BALLROOM, NEW YORK U.S.A. October 7, 1997 DISC ONE 01. Be Here Now 02. Stay Young 03. Stand By Me 04. Supersonic 05. Some Might Say 06. Roll With It 07. D’You Know What I Mean 08. Magic Pie 09. Don’t Look Back In Anger DISC TWO 01. Don’t Go Away 02. Wonderwall 03. Live Forever 04. It’s Getting Better (Man!!) 05. Champagne Supernova 06. Fade In-Out 07. All Around The World 08. Acquiesce SATURDAY NIGHT LIVE October 4, 1997 09. Don’t Go Away rehearsal 10. Don’t Go Away 11. Acquiesce DISC THREE HAMMERSTEIN BALLROOM, NEW YORK U.S.A. October 8, 1997 01. Be Here Now 02. Stay Young 03. Stand By Me 04. Supersonic 05. Some Might Say 06. Roll With It 07. D’You Know What I Mean 08. Magic Pie 09. Don’t Look Back In Anger DISC FOUR 01. Don’t Go Away 02. Wonderwall 03. Live Forever 04. It’s Getting Better (Man!!) 05. Champagne Supernova 06. Fade In-Out 07. All Around The World 08. Acquiesce DAVID LETTERMAN SHOW October 9, 1997 09. Don’t Go Away