Paul McCartney,Wings/MI,USA 1976 Upgrade

Wings 1976 Tour Ultimate Audience Album “BOSTON 1976” continues to be a huge bestseller, and this time we will also release the excellent audience album from the Over America Tour. Boston was also great in that it captured the scene where the Over America Tour was starting to get on track with the best sound quality, but this time we caught the early stages of the Over America Tour. That is the May 8th performance in Detroit. Detroit in 1976 has had monaural audience recordings for a long time, and the quality was not for everyone. However, a few years ago, JEMS released the sound source of Detroit 76, which was held twice. This sound source was recorded in stereo, and the freshness and clearness were excellent, and it was a convincing quality that multiple items that coupled both days were produced. However, when I woke up from the excitement of being the first sound source, the 7th one was actually not as easy to listen to as I expected. Even the stereo recording and the spaciousness of the sound were ruined because the performance was far away and the sound image was blurry. In other words, it is an audience recording where the sound is far away. On that point, on the second day, the sound image was closer than the previous day and was overwhelmingly easier to hear. However, the clarity and freshness were outstanding. Therefore, among enthusiasts, there was a whisper that “Isn’t it enough that JEMS’ Detroit 76 is only on the second day?” It is certainly natural to publish both days as a complete document. However, the reality is that it’s only on the second day that you want to listen to it again and again. As expected, it is not as close to the intense sound image as the previous Boston, and even less is at a level that can be described as “sound board-like”. Still, the unique stereo feeling and freshness make it very easy to listen to, and we guarantee that it is a quality that can be enjoyed by beginners as well as enthusiasts. Also, while the JEMS sound source had excellent sound quality, it had the problem of frequent cuts between songs after “Call Me Back Again” ended. Therefore, regarding the missing parts, we realized the full-length version by supplementing the monaural audience mentioned at the beginning. Among them, there is the scene where Paul introduces Linda, who serves as MC in “Live And Let Die”, and the scene where Denny Lane plays the intro (or something like) of the Rolling Stones’ “Not Fade Away” acoustically before “Picasso’s Last Words”. – This compilation covers the scenes where you play the guitar. It is originally an audience with excellent sound quality, and it is also a sound source that has items in the past, so there is no oversight in the adjustment work this time. After all, the sound quality is good, and you can feel that the atmosphere of the performance is clearly different compared to Boston about two weeks later. In particular, it is impressive that “Jet” is played at a slower tempo compared to that time. Is this stiffness because less than a week has passed since the start of the Over America tour? I would like to guess, but when the next “Let Me Roll It” starts, it becomes clear why it was a calmer tempo than Boston. At the beginning of the song, Denny yells, “Sit down!”, but the point is that there was a bit of chaos at the front of the arena, and the Wings were playing with a cautious look in front of them. . After that, the band steadily improved, and Jimmy McCulloch’s fire-breathing playing from this song to “Medicine Jar,” in which he sings the vocals, is a big highlight of the first half of this recording. You could say it is. I think this is a scene where the benefits unique to audience recording are utilized to the fullest, as it vividly captures the dynamism of the performance that cannot be conveyed with a soundboard. And since it is the first half of the tour, it is also attractive that Paul’s voice does not become hoarse like the famous sound source LA Forum on the last day, and you can hear his enthusiastic singing at his best. The best example is “Beware My Love”, where Paul’s full-throttle shout is overwhelming. In addition, “Soily”, which was not played at the Boston encore, also appears, which has the great advantage of being able to enjoy the stage according to the tour’s set list. Jimmy’s guitar is roaring here as well, but on this day he was also talkative in some of the MCs, and his presence was impressive overall. An excellent audience for the Over America tour, which is especially recommended for Jimmy’s fans. After all, the second day of Detroit 76 is the best! Mainly using past high-quality stereo audience recordings, missing parts were filled in with monaural audience recordings from the same day. The best version of the second day’s performance in Detroit in 1976. Live at Olympia Stadium, Detroit, MI, USA 8th May 1976 TRULY AMAZING/PERFECT SOUND(UPGRADE) Disc 1 (67:48) 01. Intro 02. Venus And Mars 03. Rock Show 04. Jet 05. Let Me Roll It 06 . Spirits Of Ancient Egypt 07. Medicine Jar 08. Maybe I’m Amazed 09. Call Me Back Again ★5:19 – 5:41 Compensation 10. Lady Madonna 11. The Long And Winding Road ★4:20 – 4:52 Complement 12. Live And Let Die ★3:57 – 4:19 Complement 13. Picasso’s Last Words (Drink To Me) 14. Richard Cory 15. Bluebird 16. I’ve Just Seen A Face 17. Blackbird 18. Yesterday Disc 2 (61:19) 1. You Gave Me The Answer 2. Magneto And Titanium Man ★3:47 – 3:57 Compensation 3. My Love 4. Listen To What The Man Said ★3:23 – 3:49 Compensation 5. Let ‘Em In ★3:56 – Until the End 6. Time To Hide ★0:00 – 0:08 7. Silly Love Songs 8. Beware My Love 9. Brass Introductions 10. Letting Go 11. Band On The Run 12. Hi, Hi, Hi 13. Soily ★5:29 – Fill in until the end Paul McCartney – bass, acoustic guitar, piano, keyboards, vocals Linda McCartney – keyboards, percussion, piano, vocals Denny Laine – guitars, bass, piano, keyboards, percussion, harmonica, vocals Jimmy McCulloch – guitars, bass, vocals Joe English – drums, percussion, vocals Tony Dorsey – trombone, percussion Howie Casey – saxophone, percussion Steve Howard – trumpet, flugelhorn, percussion Thaddeus Richard – saxophone, clarinet, flute, percussion