Paul McCartney/London,UK 1990 Remastered

Paul’s first solo tour, which took place over two years in 1989 and 1990, began in Europe and landed in the United States, and at the beginning of the year, in January 1990, he made a long-awaited triumphant return to his home country of England. It was the schedule. This is their first concert in the UK in 10 years. What’s more, in the UK, there were 6 consecutive performances in Birmingham, and 11 consecutive performances at Wembley in London, making it the largest series of consecutive performances in the same city during the tour. This work is a title that completely records the Wembley performance on the soundboard. It is unclear how this sound source was leaked. It was adopted from multiple performances during the Wembley series in early January 1990, but the sound quality is consistent, and there are traces of editing, perhaps because the best parts were selected, even in different performance locations within the song. It even seems like it was predicated on some kind of official release. It is a sound board sound source of such high quality. Due to this amount of sound sources, there were already released editions, but all of them had problems with the sound quality and content. For those who have the already released edition, I think this is the title of the VOXX label, which was considered the best up until then. However, nearly 20 years have passed since its release on the VOXX label, and since then no revised edition has been released by any label, making it an unfortunate sound source that has been left alone with problems. There is no doubt that this work will be the definitive album that surpasses them, and will also become a classic title representing the Get Back Tour. Those who have the previously released version may have felt something strange about the volume level rising and falling unnaturally from the first intro SE part. Furthermore, “Figure of Eight”, which was probably edited with performances from different dates before and after this one, had the disadvantage that the volume level dropped from the break part of the song. The first advantage of this work is that the level is adjusted to be uniform throughout the entire concert, just like the sound produced at the actual venue. And the biggest drawback of the already released album is the second song “Jet”. Following the intro riff, Paul shouts “Yeeeeeeeeeeee Jets!” This “Jets!” was repeated twice due to an editing error, and the editing point was incorrect in the second “Jets!” Because there is no such thing as “Jeeeeets”, it has been delayed. In other words, the song structure is incorrect due to an editing error. Enthusiasts must have always felt uncomfortable that such an obvious mistake was left unaddressed. There are no such deficiencies in this work, and the song structure is correct as it should be. Also, one of the drawbacks of the previously released editions was that the disc layout was such that Disc 1 included “Things We Said Today” and Disc 2 began with “Eleanor Rigby.” As you know, these two songs are played consecutively like a medley with Robbie’s guitar solo as a link. Many titles of the Get Back Tour have been released since then, but this Wembley release is probably the only one that records these two songs separately. The tasteless editing that stopped the flow of the concert was a major drawback of the previously released albums. Similar to Tripping, this work starts with “Eleanor Rigby” on disk 1 and “This One” on disk 2. Furthermore, a drawback of the already released version is that “Twenty Flight Rock” is incompletely recorded and fades out. One of the advantages of this work is that it is completely recorded through editing. Furthermore, “The End” is an important song that concludes the concert, but this was also incompletely recorded on the previous release due to a fade-out. This work is also the last Jean due to editing! It is completely recorded. Also, the pitch deviation was one of the major drawbacks of the already released version. At the beginning, the pitch was exactly within the normal range, but as it progressed towards the end, it became faster and faster, and after “Coming Up”, the pitch was more than 3% faster than the normal level. This was such a huge discrepancy that even casual listeners could recognize it as strange. In this work, this pitch is properly adjusted to plus or minus zero throughout. As mentioned above, the previously released editions, which have already fulfilled their role and become a thing of the past, are lacking in content, pitch errors, editing mistakes, and the level is unstable, so although they are such great sound sources, they are not the best. Even what was described was quite sloppy from today’s perspective. This work eliminates all of these shortcomings, and will surely become a universal title that will remain as a definitive album for future generations. A complete recording of the January 1990 Wembley performance on the soundboard. Wembley Arena London, UK, January 16, 23 & 26, 1990. Digitally Remastered DISC ONE 01. Figure Of Eight 02. Jet 03. Rough Ride 04. Got To Get You Into My Life 05. Band On The Run 06. Ebony And Ivory 07. We Got Married 08. Maybe I’m Amazed 09. The Long And Winding Road 10. Fool On The Hill 11. SGT.Pepper’s Lonely Hearts Club Band 12. Good Day Sunshine 13. Can’t Buy Me Love 14. Put It There 15. Things We Said Today 16. Eleanor Rigby DISC TWO 01. This One 02. My Brave Face 03. Back In The USSR 04. I Saw Her Standing There 05. Twenty Flight Rock 06. Coming Up 07. Let It Be 08. Ain’t That A Shame 09. Live And Let Die 10. Hey Jude 11. Yesterday 12. Get Back 13. Golden Slumbers – Carry That Weight – The End