Oasis/IL, USA 1998

The “BE HERE NOW” tour is very popular among enthusiasts, but in 1998 the number of released items became extremely small. This may be due to the tremendous presence of Budokan, which was broadcast on TV. There are almost no items containing other performances. Still, there are several soundboard sound sources other than Budokan on the 1998 tour. Although the South American performance held after Japan was also broadcast on TV and radio, there was no sound source that could be produced because it was of South American quality at that time. This also added to the situation where Budokan was left alone. Meanwhile, before the Japan performance, Oasis was touring the United States as their first live performance in 1998. This was done in consideration of the contract fulfillment and loss compensation for the 1996 American tour, in which the tour had been interrupted due to a sibling quarrel, and we had to spend a month on the tour, which we were unable to do on the previous tour. The land used to be used was also turned around. The Hammerstein Ballroom from the previous year is by far the most famous sound source for broadcasting in the United States for the “BE HERE NOW” tour, but it has been overlooked that radio broadcasts were actually made from the 1998 tour as well. A simple fact. That is the radio broadcast of the Chicago performance on January 17th that will be released this time. This is very similar to an American radio broadcast, with most of the live songs being cut out and an interview with Noel Gallagher inserted instead. Furthermore, two songs, “It’s Gettin’ Better (Man!!)” and “Champagne Supernova”, were cut due to broadcast time constraints. Chicago in 1998 was a radio source that was completely overlooked due to its content. A cleaned up version of this buried sound source has been circulating on the internet for some time. It was created by a maniac called “Fradoca”, and not only has it been remastered with improved stereo performance, but above all, Noel’s interview and commercial breaks that disrupted the flow of the live performance have been completely deleted, and they are seamlessly connected. He made it so that I could listen to it without stress. It is true that the cuts of the two songs are missed, but what will surprise you at first listen is the outstanding sound quality. This is a completely official level stereo soundboard recording, so not only enthusiasts but also beginners can enjoy it with confidence. Not only is the sound quality superb, but the performance content is also truly wonderful. In the first place, I can’t help but feel that the impression was weak because it was sandwiched between the previous year and Budokan, which produced strong performances every day on the 1998 American tour, but it proves that they were actually delivering heated performances. In that sense, the value of this broadcast is extremely high. First of all, Liam Gallagher’s tension is very high from the opening “Be Here Now”, and the tone of his voice is also good. The difference between the performance at Budokan, which was released a month later and where Liam’s voice changed several times in the same song, is clear. In addition, the clear stereo mix with Noel on the right and Bonehead on the left stands out thanks to Fradoca’s remastering, and it shows how much Bonehead’s guitar playing, which is often overlooked, supports Oasis’ live sound. It can be said that it is the perfect sampler to find out the fact that it was used. And Noel’s acoustic corner revived from the American tour, but at this time it was secretly popular among enthusiasts because it was performing rare cover songs every day. Naturally, Noel was playing a cover on this day, but the song chosen here was The Jam’s “To Be Someone.” Later, a version recorded by Noel will be released on their tribute album, but it is said that a similar arrangement had already been performed as of this day. To begin with, “To Be Someone” was only played five times in the United States in 1998, but it was really lucky that one of those times was broadcast with the best sound quality. The arrangement is simple and has a much slower tempo than the original, giving the impression that it is a different song, but Noel is unique in his performance, which takes advantage of the good melody. Perhaps because it’s a song he has a lot of feelings for, it’s heartwarming to see him forgetting the lyrics at the end of the song and holding back his laughter as he sings it. Moreover, the sound quality and mixing of the acoustic corner are also very good, and you can’t help but fall in love with it. By the way, in the chorus of “Roll With It” there are a couple of strange sounds that can’t be interpreted as skipping or reverse rotation, but this was to cover up the part where Liam sang using prohibited words. , it was a treatment typical of American radio broadcasting. Therefore, it is different from noise or defects. In fact, this processing can also be said to be a manifestation of radio broadcasting. In any case, the sound is so good that it’s strange that it hasn’t been released until now, and even if two songs were cut, the content that condensed the charm of this day can be called the birth of a new standard sound source. In addition to the highest sound quality, the ease of listening to music on a single disc is suitable for everyone. And it’s surprising that such a rich and easy-to-listen sound source has not been released until now, including the highlight of the day, a cover of “To Be Someone”, which Noel sings with great enthusiasm! Rosemont Horizon, Chicago, IL, USA 17th January 1998 STEREO SBD (69:14) 1. Be Here Now 2. Stand By Me 3. Supersonic 4. Roll With It ★Liam Gallagher sings “Fuckin'” in the chorus Broadcasting stations are sensing the location. 5. D’You Know What I Mean? 6. Cigarettes & Alcohol 7. Don’t Go Away (Acoustic) 8. Talk Tonight (Acoustic) 9. To Be Someone (Acoustic) 10. Slide Away (Acoustic) 11. Don ‘t Look Back In Anger 12. Wonderwall 13. Live Forever 14. Acquiesce Liam Gallagher – lead vocals, tambourine Noel Gallagher – lead guitar, vocals Paul Arthurs – rhythm guitar Paul McGuigan – bass Alan White – drums, percussion STEREO SOUNDBOARD RECORDING