Queen/IL,USA 1978 Upgrade

The legendary recording that was once known as the sound board has been brushed up. What is being sucked into the legendary recording is “December 7, 1978 Chicago Performance”. This is a superb audience recording that conveys the North American edition of the “JAZZ TOUR” that produced “LIVE KILLERS”. This recording has long been a treasure for core enthusiasts rather than a classic. Usually, mania’s treasures have problems with sound quality, but this work is the opposite. It was traded as a sound board due to its extremely active core, clear details, and modest audience noise, and because of its splendor, it was a recording that was kept out of the public by core enthusiasts. However, an outstanding recording cannot remain anonymous. As time passed, I experienced it one by one and spread the word about how wonderful it was. It is such a legendary recording, but the one that was considered the best was the one that was digitized directly from the Omoto cassette. He was a treasure master that we once introduced as “THE ULTIMATE ENTERTAINER” at our store. This work is a live album that has been updated to the highest peak, refining that peak master with the latest and meticulous remastering. Before the shocking sound, first of all, the show position. Let’s check the overall picture of the wonderful “JAZZ TOUR 1978-1979”. ●1978・October 28-November 14: North America #1 (12 performances)《“JAZZ” released on November 14 (Japan/North America)》・November 16-December 20: North America #2 (23 performances) ←★Coco★ ●1979, January 17th – March 1st: Europe (29 performances) ← *Official, April 13th – May 6th: Japan (15 performances)《June 22nd August 18th: West Germany (1 performance) This is an overview of the world tour that captivated the world. The traditional masterpiece “LIVE KILLERS” was produced from a European tour in early 1979, 40 years ago, but this work was released before that. This was the 15th concert of “North America #2″ held at the end of 1978. And, the sound that recorded such a show is overwhelming. As mentioned above, the strength and vividness of the extremely thick core that was used as a sound board even among core enthusiasts is exquisite, and the freshness of digitizing the Oomoto master completely is also the ultimate. That super beautiful sound could be enjoyed on the previous edition, but this work has been given an even more thorough treatment. Of course, we do not try to fool people by trying to gain meaningless sound pressure. Although the original sound is the truth of the Oomoto master, there was a problem with the sense of stability. The pitch is randomly distorted and the sound pressure is unstable. Furthermore, the stereo balance was heavily biased towards the right channel. Among these, the stereo feeling is due to the recording position (third row in front of the left speaker), but as a live album, it is more comfortable if it is well-balanced. In this work, all of these shortcomings have been identified and carefully adjusted in minutes and seconds. As a result, the overall clarity and clarity of the sound has improved. We have achieved a sound that comes close to the masterpiece “DEFINITIVE MONTREAL 1978”, which was even touted as the treasure of the QUEEN audience. The truth of 1978 that is depicted by the audience with the sound that has updated to the highest peak in history. In fact, this show is also known for the lack of vocals. “Let Me Entertain You” sings an unusually low line, and even at the end of “Somebody To Love,” it’s frustrating that it doesn’t quite rise to the top. “Get Down, Make Love” also seems to be withering, and even the call and response of “Now I’m Here” does not reach the usual overwhelming force, and the voice becomes hoarse and turns over in the middle. However, there was also a reason for this. In fact, the door in the dressing room at Chicago Stadium, where the incident took place, was broken. I was freezing in the frigid December air outside Chicago. As a result, the members of QUEEN were completely cold and shivering until just before they went on stage. As a result, not only Freddie’s chorus but also Brian’s chorus has become nasally. The bad luck continued, and equipment trouble occurred after “Somebody To Love”. After a strange pause, Freddie says, “Sorry to keep you waiting. It was an electrical problem. But we won’t bore you with it. Now, let’s get started!” On the other hand, the sound of this work is so outstanding that you can accurately understand every single word of the MC’s nasal voice and MC, but that’s not all. Although the high notes are not extended, the vocalization itself is powerful and truly energetic. It was a passionate performance that I could see them running around the stage trying to escape the cold air. It is rare for Freddie to play “Don’t Stop Me Now” as an intro to “Spread Your Wings,” and in “Spread Your Wings,” Brian plays a wonderful guitar solo that is full of emotion. And as his body warmed up, he seemed to be in a better mood, and he found himself able to crack jokes. After finishing “Dreamers Ball” and entering the acoustic corner, Brian said, “The rest of the members (Roger and John) got tired of it and quit, so Freddie and I have to continue.” Freddie also said, “Ah! , we’ll be the only ones giving blowjobs!” she replies. And when “Love Of My Life” is over and Roger & John return to the stage, Freddie asks, “Was the fetish good?”, and Brian immediately adds, “Oh, you’re laughing.” After a freezing show, the show picks up its pace and relaxes. You can fully enjoy it with the best sound. Normally, I should have devoted more time to songs like “If You Can’t Beat Them,” “It’s Late,” and “Fat Bottomed Girls,” which can’t be heard on “LIVE KILLERS,” but the sound is so wonderful and unique that I forget even that. The mood is so delicious. It is a live album that is more suitable to be called a secret version of “LIVE KILLERS” than the real version of “LIVE KILLERS”. It’s a shame that the ending of “We Are The Champions” is missing like the previous ones, and “God Save The Queen” also fades out in about 20 seconds, but it can’t be helped as long as the Omoto master doesn’t have it either. A masterpiece filled with plenty of sound and a live performance that will make you feel even closer to QUEEN. Live at Chicago Stadium, Chicago, IL, USA 7th December 1978 TRULY PERFECT SOUND(UPGRADE) Disc 1 (63:38) 1. Intro 2. We Will Rock You (fast) 3. Let Me Entertain You 4. Somebody To Love 5 If You Can’t Beat Them 6. Death On Two Legs 7. Killer Queen 8. Bicycle Race 9. I’m In Love With My Car 10. Get Down, Make Love 11. You’re My Best Friend 12. Now I’m Here 13. Don’t Stop Me Now ★Unrecorded from the master tape after 30 seconds 14. Spread Your Wings 15. Dreamers Ball 16. Love Of My Life 17. ’39 Disc 2 (52:09) 1 It’s Late 2. Brighton Rock 3. Guitar & Drum Solos 4. Fat Bottomed Girls 5. Keep Yourself Alive 6. Bohemian Rhapsody 7. Tie Your Mother Down 8. Sheer Heart Attack 9. We Will Rock You 10. We Are The Champions ★2:46 is not recorded from the master tape 11. God Save The Queen