Description
The 1970 Paris concerts were held over three consecutive days, with the first two broadcast on French radio. The second day is more well-known, but the first day was broadcast as a live commentary. Recordings of that broadcast have been circulating to this day, and in terms of quality, they are vintage radio broadcast recordings typical of the time. Moreover, the constant commentary between songs is annoying, and for that reason, fewer items were released from that day compared to the second day. A few years ago, Captain Acid reworked this recording and released a file titled “PLEASED TO MEET YOU BIANCA, HOPE YOU GUESS MY NAME.” However, it wasn’t as compatible with his remastering as the highly acclaimed “PHILADELPHIA SPECIAL CAPTAIN ACID REMASTER” was released, and the resulting sound had a rather peculiar texture. Captain Acid’s typical approach to vintage radio aircheck recordings, which involved creating a pseudo-stereo soundstage and adjusting the treble to enhance clarity, resulted in an unnatural sound. More importantly, it amplified the vintage recording’s characteristic hiss to an unpleasant level. For this release, GRAF ZEPPELIN, as with the previous PhilaSpe release, thoroughly revamped the sound. First, by converting the entire recording to mono, the unnaturalness present in the original file was easily eliminated. Given the poor compatibility between this vintage radio recording and Captain Acid’s artificial stereo sound, this alone makes a significant difference in listenability. Furthermore, the biggest drawback of Captain Acid’s remasters—the phenomenon of noise becoming even louder—has been drastically reduced. There are other areas in Captain Acid’s Paris first-day remaster that weren’t fully addressed, particularly the noticeable sonic fluctuations from “Little Queenie” onwards. In “Brown Sugar,” the sound quality had deteriorated to an unbearable level of fizziness, so the entire recording from “Little Queenie” onwards was replaced with a different source. This alternative source worked very well with the mono conversion process up to “Live With Me,” resulting in a finished product that is not only superior to the original Captain Acid remaster but also more enjoyable to listen to than previously released items. As for Buddy Guy & Junior Wells’ “It’s My Life Baby,” which featured a surprise appearance by Clapton as the opening act, a newly discovered version was used, resulting in a recording that is 20 seconds longer than previous releases, especially at the beginning. Unlike the following day, this was a live broadcast, so at the beginning, when “Jumping Jack Flash” started, the balance was almost like an audience recording. However, from the second song, “Roll Over Beethoven,” a highlight of the 1970 performance, the sound gradually regains its soundboard quality as the songs progress. And what is most impressive is Mick’s high-energy performance from “Midnight Rambler” onwards. Unlike the CD era, in the LP era, only the first night in Paris was partially released, but Mick’s shout of “Lord have mercy!” at the end of this song was so impactful that it was used as the title of the old analog LP or included at the beginning of the record. The Captain Acid remaster, which became difficult to listen to as the latter half of the live performance, which was impressive in its richness of performance, was completely remade by “GRAF ZEPPELIN” to the point where it can be called a different thing, and moreover, it is easier to listen to than the previously released version, including the opening act, making it a true definitive edition. The jacket is also a shot that is unique to 1970, with Keith harmonizing with Mick on “Jumping Jack Flash” with a Les Paul and a capo on the fourth fret! First night of the 1970 Paris performance! The Stones section is based on the Captain Acid Remaster. Because there is an unnatural pseudo-reverb sound in the right channel, it has been completely converted to mono in the left channel and remastered. Furthermore, the unpleasant, fizzing sound of “Little Queenie” from the beginning to the end of the performance has been replaced entirely with different material that does not have the fizzing sound. The gap before the performance of the song has been lengthened, and the radio announcement after the performance is also recorded for longer than on the VGP and Gold Plate versions. The sound distortion at the beginning of “Love In Vain” has been corrected. The two sound skips in “Little Queenie” have been seamlessly copied and pasted. The overall sound has been boosted in the mid-range. The opening act’s part has been remastered and recorded using the latest 24-bit, 48kHz material released in recent years! The beginning is 20 seconds longer and the announcement after the performance is a little over 2 seconds longer than on previous releases. The pitch and bandwidth have been corrected and it has been made completely mono. (75:22) BUDDY GUY & JUNIOR WELLS with ERIC CLAPTON 01. It’s My Life Baby 02. Backstage Report THE ROLLING STONES ★Based on Captain Acid Remaster 03. Introduction 04. Jumping Jack Flash 05. Roll Over Beethoven 06. Sympathy For The Devil 07. Stray Cat Blues 08. Love In Vain 09. Dead Flowers 10. Midnight Rambler 11. Live With Me 12. Little Queenie ★From this point onwards, the entire album is replaced with material without the undulation 13. Let It Rock 14. Brown Sugar 15. Honky Tonk Women 16. Street Fighting Man SOUNDBOARD RECORDING
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