Rolling Stones/Canada 6.3.1972 Upgrade

The Rolling Stones’ 1972 US tour, with “FORT WORTH 1972 LATE SHOW” now on sale, is a big hit. It kicked off on June 3rd in Vancouver. Not only was it a rare first day of the tour, but it was also well known to enthusiasts as a day documented with high-quality audience recordings. The rare numbers that were only shown on this day were already recorded on analog, but the full live performance was only released as a CD item. There were many items released on that day for the reasons mentioned above, but DAC’s “TOURING PARTY VOL.1” has reigned as the definitive version of the day. However, this sound source, JEMS released a first-generation copy more than 10 years ago, and the sound quality surpassed the DAC version. This version could not be ignored, and rather it was used to release SODD’s “S.T.P.CHRONICLES VOL.1”. It seemed like Vancouver’s best would be renewed, but the problem of the high pitch was ignored when it was made into a CD. This turned out to be a curse, and “TOURING PARTY VOL.1” was considered the best after that. In terms of sound quality, the JEMS version was definitely the best… If you think about it like that, it’s no wonder that no new titles have appeared for 10 years. So this time, Graf Zeppelin has once again overhauled every corner of the sound source based on the JEMS low-generation version. Although this is the original sound source, the phase shift peculiar to cassettes occurred to a greater or lesser extent in previous items, and this time the unnaturalness has been eliminated by mono-firing the sound source. Compared to the current version, “TOURING PARTY VOL.1” seems to have a thin skin on it, and the phase shift made the sound image sound deeper. By mono-firing it, the performance and singing have a core and can be heard more clearly. The pitch has also been adjusted more precisely than in previous items. Not only does it stabilize the basically high state, but it also adjusts even the slight frenzy that is common to vintage audiences. Graf Zeppelin has already proven this kind of careful correction in “FORT WORTH 1972 LATE SHOW” and “IN EXIOTIC HONOLULU”. The JEMS version had a cleaner sound quality with less roughness than the previous version, but it was also a wonderful upper version in that there were longer recordings in various places. The cut from “Gimme Shelter” to “Bitch” seen in past items was not here, and it was even recorded 30 seconds longer. It is not a scene related to the performance, and you can only hear a little of Mick’s talk, but it is certain that the upper feeling appeared from such a place. As for the content of the performance, it was the first day of the Stones’ tour, and it was a glorious 1972 tour, so there were many things to listen to (and things to point out). More than half of the songs performed on stage that day were first performed live, making this a rare aggressive set list even in the history of the first day of a Stones live tour. However, even though it was a tour at the peak of their career, this composition was a heavy burden. The songs on “EXILE ON MAIN ST.” are full of live premieres, but Keith made a mistake in the composition of “Rocks Off,” and then Mick made a mistake in the composition of “Tumbling Dice.” The latter in particular is a regular repertoire that has been performed live to this day, so the shaky tone here is too fresh. “Loving Cup” was performed live for the second time, but even so, the pre-release debut at Hyde Park was a long time ago. This can also be called a live premiere. Still, perhaps it brought back memories, as the songs were performed more calmly than the other songs, and they continued to be performed several times the next day. When it came to “Torn & Frayed,” the performance almost stopped. Furthermore, “Ventilator Blues” is not bad, but both songs are loose and do not look good on stage, so it is easy to imagine that they were precious but the live performance on this day was over. The performance of these two songs alone is very interesting, but “Sweet Virginia”, which was also the premiere, is played on electric guitar like other songs, without Keith using acoustic guitar as later. It is also very loose. It has become a rare electric version. Surprisingly, “You Can’t Always Get What You Want” was also performed for the video recording at “ROCK & ROLL CIRCUS” in 1968, so this is essentially the live premiere. As if to tell the story, Keith tries to start the intro, but stops immediately and then plays it again, and Mick’s careful singing is fresh. And when it comes to “Bye Bye Johnny”, which was a cover that represented 1972, it is interesting because it starts loosely without the introduction of the members. (In “Bye Bye Johnny,” you can hear the surprising performance of Taylor playing the guitar solo instead of Keith.) Only “All Down The Line,” which was performed before that, seems to have been performed firmly among the first performances. That’s why it’s interesting to see the sudden change in performance, where the performance becomes stronger when it comes to “Honky Tonk Women” and “Midnight Rambler.” This is why it was a sound source that was loved by enthusiasts among the many first days of the Stones tour. The 1972 American tour, later called “Rock & Roll Dynamite” or “Stones Touring Party,” had almost no dynamite or party feeling at this point (laughs), and the best version of the first day of the tour, which was done with the momentum of just having to show off new songs, has finally been renewed. There was such a time when “Tumbling Dice” and “You Can’t Always Get What You Want” were also innocent! The definitive version of the first day of the 1972 tour! (Remastering memo) Mastered from the 1st Gen of JEMS, which probably appeared about 10 years ago. The master itself is probably the same as the previously released SODD, but the finish is completely different, and this is the definitive version. Compared to the previously released DAC version, there is less hiss (although there are some parts at the end), and the rumbling feeling in the low range is modest, refreshing and natural. It probably wasn’t mentioned anywhere, but there are several parts in the Jems 1st Gen where the intervals between songs are longer than the DAC version. There are also some uneven rotations in places, but a few parts that are bothersome have been corrected. The cymbals undulate in places from the original data, and the same is true for the DAC and SODD versions. The freshness of the sound, the correction of the phase shift that was a stain on the SODD, the pitch is precisely adjusted, and there are also longer (or uncut) intervals between songs than the DAC version, and from these elements, this version is the new best overall. Live at Pacific Coliseum, Vancouver, British Columbia, Canada 3rd June 1972 TRULY AMAZING/PERFECT SOUND(UPGRADE) Disc 1 (43:47) 01. Introduction 02. Brown Sugar 03. Rocks Off 04. Gimme Shelter *No cut between songs after performance (about 30 seconds longer than DAC with cuts) 05. Bitch 06. Tumbling Dice 07. Happy *The interval between songs after performance is about 8 seconds longer than DAC 08. Honky Tonk Women *Cut in 09. Loving Cup 10. Torn And Frayed Disc 2 (46:48) 11. Sweet Virginia 12. You Can’t Always Get What You Want *Crossfade between songs after performance (still about 8 seconds longer than DAC) 13. Ventilator Blues 14. Midnight Rambler *Cut between songs after performance (still about 3 seconds longer than DAC) 15. All Down The Line 16. Bye Bye Johnny★★Taylor plays the guitar solo, not Keith!! 17. Rip This Joint★Cut-in 18. Jumping Jack Flash★Cross-fade between songs after performance (still about 7 seconds longer than DAC) 19. Street Fighting Man