Queen/UK 11.20.1973 & SC Upgrade

In 1973, she made her debut with “The Scary Princess” and the beginning of her legend. Introducing a significantly upgraded master of a famous recording that boasts unparalleled individuality in its early days. This work includes “November 20, 1973 Oxford Performance”. This is a historical audience recording that includes the full show and the extremely valuable sound check. They started calling themselves QUEEN in July 1970, and were officially formed in February 1971 when John Deacon joined. The earliest records were only photographs, and it was not until 1973 that actual recordings of performances began. This is a good opportunity to look back on those early days and check the position of this work.・February 5th: BBC Session ← *Official “ON AIR” ・April 9th: London performance [“The Dread Princess” released on July 13th] ・July 13th-August 3rd: UK #1 ( 3 performances)《August “Queen II” production》・September 13: London performance　←※Official “ON AIR”・October 13-December 2: UK #2 (23 performances)←★Here★・December 3rd: BBC Session ← *Official “ON AIR” December 6th-28th: ​​UK #3 (8 performances) [A great recording from the early days that has been significantly upgraded] This is QUEEN’s 1973. Speaking of this year’s performances, the two BBC sessions and the Golders Green Theater performance are the official live album “ON AIR”, and the Oxford performance of this work is the 8th performance of “UK #2” in between. QUEEN’s oldest audience recording is “You can enjoy it at the Liverpool performance “POP SPECTACULAR” on November 17th”, and this work was a concert three days later. The recording of this show has been known for a long time and has been introduced, but this work is different from that. It is an upgrade master that was recently discovered. The sound is completely different from the conventional one…It goes beyond the dimension and is amazingly neat. Although the previous masters have been shown to be excellent recordings, they are covered with severe hiss and wakame deterioration. I was the type of person who understood songs from fragments and listened to them while correcting the distortions in my head. However, this mastering requires no mental correction at all. The crisp and tight sound is truly fresh, and you can fully immerse yourself in the youthful performance without any disturbance or stagnation. When this happens, the “good quality of recording” that was originally felt will be fully realized. Although it is not the type that can be mistaken for a sound board, the core is strong enough to erase the presence of the audience, and the details are also vivid. Anyway, the sense of presence and reality is amazing. Previously, the sound felt like the performance was “on the other side of the twisted tape”, but the new master really feels like the four people, whose average age was 24.8 years old, were right in front of me. The heavy bass, which tends to be sparse in audience recordings at the time, is clearly captured, and you can clearly enjoy the bass line. Of course, this work also includes mastering that brings out the maximum potential of the new excavated master. The realistic feel and beauty of the vintage sound are not lost in the slightest, the pitch is accurately corrected, and the outline is clear. We have more accurately reproduced the “1973 scene”. [Live performance and sound check where you can feel the young QUEEN up close] The show drawn with that sound is an explosion of youthfulness. At that time, they performed for 9 consecutive days with the support of MOTT THE HOOPLE, and this work is the 6th performance. Even though he has been singing day and night, Freddie’s singing voice is in great condition, without the slightest hint of fatigue. The falsetto performance of “Father To Son” and the chorus break of “Son And Daughter” are both extremely cool. As mentioned above, speaking of 1973, the sound board for the official September London performance is also a standard, but you can’t hear it there, such as “Keep Yourself Alive”, the rare song “Hangman”, and Little Richard’s cover “Bama”. You can also enjoy a lot of “Lama Bama Loo”. Although such a live performance alone is a treasure, the biggest highlight of this work is the sound check recorded in the second half. It was recorded at the same “November 20th Oxford”, but this is also an upgraded master. In fact, this recording is over 20 minutes at most, but this work is an edited version that has been shortened to about 14 minutes. However, the cut section is almost silent, so you can enjoy delicious performances and conversations. And best of all is the sound. As with the previous version, there is some hiss, but the distortion and muffledness have been greatly improved. This is also the best sound that you can feel in front of the four people who are enthusiastic about rehearsal. And that feeling of being together is overwhelming. Scenes that cannot be heard anywhere else pop out one after another, such as conversations between the members, Freddie’s relaxed singing voice, and his appearance as a site supervisor giving instructions. The 1973 record is the real thrill of being able to witness the dawn, but this sound check is exactly “same-in-place”. You can enjoy the catharsis of vintage recording to the fullest. A greatly upgraded version of the famous recording that represented QUEEN’s early days in 1973. This is a treasure of vintage recording where you can not only watch 100% live performances, but also be present at the most valuable sound checks. Best sound quality ever. The pitch is also extremely accurate. Live at New Theatre, Oxford, UK 20th November 1973 TRULY AMAZING SOUND *HUGE UPGRADE (54:41) 1. Procession 2. Father To Son 3. Son And Daughter 4. Ogre Battle 5. Hangman 6. Keep Yourself Alive 7. Liar 8. Jailhouse Rock Medley 9. Bama Lama Bama Loo SOUNDCHECK 10. Guitar 11. Ogre Battle 12. Procession 13. Father To Son 14. Son And Daughter 15. Bama Lama Bama Loo 16. Keep Yourself Alive