Oasis/IL,USA 5.20.2001 DAT Master

We have released audience recordings that documented Oasis live performances with the best sound quality, but this time the expression “best quality” fits perfectly with the superb audience. After all, it was so ultra-quality that it was distributed among traders with the proviso “Soundboard or Excellent Audience?”. The balance of the sound image was so overwhelming that it was the only possible release without any exaggeration. That was the superb audience album that captured the stage in Chicago on May 20, 2001. At the time, the “Brotherly Love” tour in the United States from May to June 2001, which was a hot topic as a tour in which British and American brother bands joined. Although this period had the easy-to-understand theme of the Brotherly Love tour, it is also a completely overlooked situation in which the only decent item is still the Denver performance on May 17th. Although that Denver was a stereo soundboard recording, it was broadcast via a webcast, which was popular at the time, so the problem was the annoying high-pitched sound quality due to the limitations of the Internet technology at the time. That alone would have been fine, but the broadcast itself was not recorded from a multi-track, and the direct feeling of each instrument was too strong and the sense of realism was weak, making it a peculiar sound source in every sense. In this way, it seems that the benefits of a stereo sound board are almost not felt, and in the end, noise occurs halfway through and it becomes difficult to hear. The CD that recorded this broadcast was the nostalgic “BROTHERLY LOVE: JUST BEFORE 10TH ANNIVERSARY”, but the sound quality was a disaster and the evaluation was very low. In other words, the Brotherly Love tour was not blessed with either items or sound sources. In that respect, this Chicago is an audience recording with an extremely close sound image, but the sense of realism and balance of the instruments are perfect, and this is a typical example of a wonderful audience recording that “exceeds a bad sound board”. If you just listen to it, you will definitely be mistaken for a sound board. There were some problems with such a superb sound source, which may be the reason why it was not released despite being an excellent recording. For example, there was a defect in “Go Let It Out” and “Don’t Look Back In Anger” that seems to have been caused by a problem during recording. In the former case, it was around 1:02, but fortunately, there was an audience recording of a different sound source on this day, so it was used as a compensation. Even so, it was adjusted extremely smoothly, so when you listen to it, it only seems like the taper turned away and the sound quality changed for a moment. Another drawback of this sound source is that there are some faint skips that are thought to have occurred when the files were made into files for distribution among traders, and this occurred in “Columbia” as well as “Go Let It Out”. This was not only a patch of a different sound source, but was thoroughly restored by copying and pasting a different part of the riff. In the first place, the sound quality of the different sound source was adjusted before being used in the patch, so you can enjoy this superb sound source with peace of mind without any discomfort. And speaking of the Brotherhood tour, we must not forget that Steve White, the older brother, took over as a substitute for drummer Alan White, who had a hand injury. It made sense for him, who was also Paul Weller’s partner, to take over for his brother’s band, but their playing styles are completely different. Unlike his brother Alan, who created an era with his light and bouncy drumming, the older brother has a straight and heavy style. The fill-ins on “Morning Glory” and “Acquiesce” are interesting because they are completely different. Still, rather than feeling out of place, they are seen as having a different charm from their younger brother, as expected of brothers. Above all, as a helper, he plays more than just to match the band, and this is conveyed by the superb sound quality. In that respect, there were parts of the Denver webcast where his drums shook and undulated, which also made it difficult to hear. And in 2001, the second half of the performance of “Gas Panic!” was incandescent from the beginning, but this was a wonderful performance that showed the good compatibility with Steve, and it seems really fresh now. The awesomeness of Steve’s drums was hard to convey in the Denver webcast (and even here it was hard to hear because of the humming sound), but this time the way Steve’s drums run wild in all directions feels overwhelmingly more vivid. Above all, Liam’s condition itself is better than in Denver, and he can sing “Morning Glory” well, where his voice even cracked in parts. This release is a superb sound source that surpasses the standard Denver webcast in both performance and sound quality, and has been thoroughly restored. In addition, since it was a joint tour with other bands, the stage was quickly packed into one CD, making it easy to listen to. A new standard has been born that represents the 2001 Brotherly Love Tour, which was not blessed with many releases and was difficult to obtain in the first place! New World Music Theatre, Chicago, IL, USA 20th May 2001 TRULY PERFECT SOUND (72:37) 1. Intro 2. Go Let It Out 3. Columbia 4. Morning Glory 5. Fade Away 6. Acquiesce 7. Gas Panic! 8. Cigarettes & Alcohol 9. Step Out 10. Slide Away 11. Champagne Supernova 12. Don’t Look Back In Anger 13. I Am The Walrus Liam Gallagher – vocals, tambourine Noel Gallagher – guitar, vocals Gem Archer – guitar Andy Bell – bass Steve White – drums