Rolling Stones/Australia 1973 Upgrade

At the height of the Rolling Stones, between the two tours of 1972 America and 1973 Europe, the one that stands out in a good way is the 1973 winter tour. Although we were left with the scars of a phantom performance in Japan, it was a very blessed time in terms of sound sources.In particular, during the Australian dates, there were several high-quality soundboards connected directly to the table, including “HAPPY BIRTHDAY NICKY.” It was leaking. However, there are several good sound sources for audience recording. All of them had a well-balanced sound image and a dry texture, so they may have been caused by the same taper. The highlight is the performance in Auckland, New Zealand on February 11th. It is probably a stray sound source where the Stones, who made a series of mistakes here and there, were captured with clear sound. This next performance will be released this time in Brisbane on the 14th, and since the sound is very similar to Auckland, it seems that it was recorded by the same taper. Regarding this sound source, the titles “VALENTINE’S DAY” from OBR and “EAT MEAT ON STAGE” from VGP have been released in the past, and the latter was considered the definitive version. This time we independently obtained a low generation copy of the same audience recording. This is something that is not even available on the internet, and was provided by an overseas collector who owned the sound source. As mentioned earlier, this sound source is an excellent recording that has a close sound image and is very easy to listen to. However, this time as well, the point that recording starts from the end of the opening “Brown Sugar” and stops at the end of “All Down The Line” remains the same. However, the noteworthy point of this low generation copy is that “Love In Vain”, which had been recorded in the middle of Mick Taylor’s solo in the past two titles, is completely recorded. In the OBR version, there was a sound that sounded as if a recorder button had been pressed by mistake during Taylor’s solo, and it faded out immediately after, while in the VGP version, the Oakland performance was connected from before the sound. However, the excavation of this version revealed that it had been successfully recorded since then. This point alone can be said to be proof of a low generation copy, but the sound quality itself is suddenly more natural and warm than the past two titles, and it even feels spacious. This is an upper feeling that you can easily understand by listening and comparing. However, in this version, the sound source switches to a lower generation sound source immediately after “Bitch” starts (0:02), and it seems that recording resumed after the recording of “All Down The Line” faded out. Copies of different generations are used from the ending of the same song (which also appears for the first time) to just before the intro of “Midnight Rambler” begins. These were not modified for this release, but were in such a state from the time the sound source was obtained. Therefore, although it is in a low generation state, these points are proof that it is not yet at the “master” stage. Still, the upper feeling throughout is evident. Moreover, unlike Auckland, the fact that you can listen to the entire story with stable sound quality is also a big attraction. In detail, the part where Charlie starts hitting the march rhythm after the last performance of “Street Fighting Man” is also included for a long time. What’s more, the hiss noise has also been reduced.In the past titles, the hiss noise was close to a “shh” sound in the intro part of “Love In Vain”, but this one has a more natural hiss noise, and its level is also lower. Low. And after all, the performances on this day were amazing, with Mick standing out the most. Is his level of excitement the highest on the winter tour? It’s so intense that you might think. Furthermore, Taylor’s guitar playing is also in excellent condition. As can be seen from the many photographs left behind, shows in Australia and New Zealand often started early in the day, and this had nothing to do with the early risers of the Stones, who were at their peak as an unlucky band. I think Keith could handle it. In fact, the hectic 11th started at 3:00 p.m., and the group’s engine, led by Keith, was captured as being slow to start. However, on this day, the show started at 8:00 pm, a time when all the members, not just Keith, could take on the stage as usual. It seems that this was reflected in Mick’s outstanding level of tension. Mick is flying right away from around “Bitch”, and Taylor also plays the interlude of “Gimme Shelter”. This is also a performance that can be called the best song on the winter tour. The best performance in which this outstanding “W Mick” enhanced each other would be “Love In Vain”. For that reason, the full-length recording that was realized for the first time (there is a cut of the example, so it is one step short of a complete recording) is a great achievement. However, Keith makes a common mistake in the intro of this song, and that is the only part that reminds me of the Oakland performance. And Mick’s crazy tension in “Midnight Rambler” is astounding. This is also a masterpiece that can be called the best on the winter tour. In fact, the tension was so high that during the finale, “Street Fighting Man,” he had too much energy and stopped singing on the third verse, which caused an incident that caused the band to panic. Fortunately, the chaos soon subsided and things returned to normal, but this kind of mess is typical of 73 Australia. Such happenings, and the Stones’ high energy performance centered on Mick, who is sharp throughout, are the upper version sound source of the heretical masterpiece among the 73 winter tour! ★The sound quality itself is much more natural and warm than the previous two titles, and it even feels spacious. This is an upper-level feeling that you can easily tell by listening and comparing. Live at Milton Park Tennis Courts, Brisbane, Australia 14th February 1973 (from Low Gen Tape Master)*UPGRADE (74:43) 1. Brown Sugar 2. Bitch 3. Rocks Off 4. Gimme Shelter 5. Happy 6. Tumbling Dice 7 . Love in Vain ★First appearance in the second half, first complete recording 8. Sweet Virginia 9. You Can’t Always Get What You Want 10. All Down the Line 11. Midnight Rambler 12. Band Introductions 13. Bye Bye Johnny 14. Rip This Joint 15. Jumping Jack Flash 16. Street Fighting Man ★Long recording of Charlie starting to beat the march rhythm after the performance. Mick Jagger: Lead Vocals, Harmonica Keith Richards: Guitar, Backing Vocals Mick Taylor: Guitar Bill Wyman: Bass guitar Charlie Watts: Drums Additional Musicians: Nicky Hopkins: Piano, Organ Bobby Keys: Saxophone Jim Price: Trombone, Trumpet