Rolling Stones/Australia 2.27.1973 Upgrade

The Rolling Stones’ 1973 Winter Tour is known for the existence of PA-out soundboards and stereo recordings of several Australian performances at the end of the tour, but in such a situation, “SYDNEY 1973 1ST NIGHT”, which contains the audience recording of the same day, has been highly praised by enthusiasts. So this time, the soundboard upper version of the Sydney performance on February 27, which was the final day of the 73 Winter Tour, was released. Yes, it was the show the day after the previous audience recording version. This soundboard was circulated among traders in the 1990s, and items began to appear as if to coincide with the Stones’ resumption of activities with the tour with “VOODOO LOUNGE”. It is natural that it is a sound source recorded in stereo like the other two-day PA soundboards that had been circulating until then. However, since it was the era of cassette trade, the items that were initially circulated had some problems, which made it seem that the true value of the newly excavated sound source was not demonstrated. Rather, in 1997, when the release rush had subsided, the VGP label released “WELCOME TO AUSTRALIA” and, although it was late, it became the definitive version. The title overcame all the shortcomings of the titles that had been circulating up until then, and the sound quality was also the best ever, so it was a best-seller that was remastered twice. However, more than 10 years have passed since the second remastered reissue of the title, and further upper version sound sources are circulating among traders. In that case, the appearance of a new generation item based on the same version, which is the best in terms of the sound source condition, was eagerly awaited by enthusiasts around the world, but this is not likely to happen. For such a famous soundboard recording, it can only be said to be a truly mysterious phenomenon. This release will be released using such an upper version. After all, the sound source this time is suddenly more natural and warm than “WELCOME TO AUSTRALIA” (hereinafter referred to as the “already released version”). There is a difference that can be understood at a glance. However, since the previous version was released during the cassette trade era, it is only natural that there will be a clear difference in sound quality compared to this version. The upper feeling, with the thin skin removed and the visibility improved, is wonderful. This alone is enough to surprise enthusiasts around the world. Also, this is common to the three PA stereo soundboards that leaked from this tour, but the instability of the rough localization can be seen everywhere. In particular, in the titles that contained this sound source, the positions of Keith and Mick Taylor were reversed, and there were even titles where the performance itself was biased to one channel. In that respect, such problems were solved with each release of the previous version, but this time GRAF ZEPPELIN has further brushed up. Even just by listening to “Gimme Shelter,” the song where the problem of localization bias was first noticeable, you will realize that this release has settled into a stable sound image at once with the help of the latest technology. In addition to that, the natural feeling of the previous one is combined and it is finally easier to listen to. Some may be concerned about the hiss noise compared to the already released version, but this is also the result of not using any tricks such as noise reduction, respecting the naturalness of the original sound. And this day is the only Australian sound board that exists for three days, and the advantage of having all the songs played on the stage that day is too big. That’s why, since this sound source appeared, it has reigned as a staple of this tour more than “HAPPY BIRTHDAY NICKY” in Perth, which was the first leaked sound board from the 73 Winter Tour. Of course, since it is PA out, you can’t expect a sense of realism, but it is one of the great sound boards in that the stereo recording is effective and you can enjoy the cheerful and wild performance that is typical of this tour. In addition, since it is the last day of the tour, the Stones’ swing is not half bad. The evolution to a more generous and wilder than the Nicaragua relief concert that announced the start of the tour and the time in Hawaii is definitely a reflection of the land of Australia. Such wildness was enough to be experienced in the example “HAPPY BIRTHDAY ~”, but by the final day of the tour, it was completely out of control. Among them, Mick was the sharpest, shouting like a runaway locomotive, not just at full throttle. In the first place, 1971 to 1973 was Mick’s peak as a rock shouter, but his hyper singing here is overwhelming. Moreover, the vividness of Mick’s shouts, which are poured into the ears of the listener as if they were PA out, is not there! Of course, Keith and Taylor’s play also pops out from the left and right, which is unique to stereo recording, and the vividness that is not found in the good-student multi-track is a big attraction. For that reason, it was necessary to adjust the left and right balance from the beginning to the end of the sound source without fail. In this way, the standard sound board of the 73 Winter Tour, which captured the Stones directly and in stereo, has finally been upgraded. (Remastering memo) It’s a pretty rough SB sound source, and for example, Mick Taylor’s guitar in Gimme Shelter is on the left channel, but then it moves all the way to the right, and there are some parts where it moves around a lot. As for the left and right channels, it’s hard to say which one is correct, but it was corrected based on the previously released VGP. The ch corrections were for three songs: Brown, JJF, and SFM. In addition, tracks that were quite left-leaning in VGP (Gimme Shelter, Happy, Dice, Rip This Joint, JJF, SFM) are closer to the center this time, and are closer to the correct positioning, making them much easier to listen to. The sound is thicker in the low range than VGP. The sound is quite low-frequency on, but cutting the bass would result in a flat sound with the flavor removed, so the low range is only slightly processed and left almost as it is. The sound image is more forward-focused overall than VGP. Moderate adjustments have been made to the mid-range to high range. Hiss is noticeable, but it’s natural. The original analog-like texture is preserved, while the performance is adjusted to bring it to the forefront. In contrast, the VGP version has a lot of hiss between songs, so hiss reduction has been applied. Also, the sound is quite loud, but no limiter has been used to increase the sound pressure. The interval after the first song, “Brown Sugar,” is about one second shorter than VGP, but this is because VGP quotes the interval after “Love In Vain” and lengthens it. This is a genuine edit without any quotes or corrections, with some crossfading. Royal Randwick Racecourse, Sydney, Australia 27th February 1973 STERE OSBD (UPGRADE)(75:28) 01. Brown Sugar Channel correction Cuts and crosses 02. Bitch 03. Rocks Off 04. Gimme Shelter 05. Happy 06. Tumbling Dice 07. Love In Vain 08. Sweet Virginia 09. You Can’t Always Get What You Want Cuts 10. Honky Tonk Women 11. All Down The Line 12. Midnight Rambler 13. Band Introductions 14. Little Queenie 15. Rip This Joint Cuts 16. Jumping Jack Flash Channel correction 17. Street Fighting ManChannel correction STEREO SOUNDBOARD RECORDING