Rolling Stones/GA,USA 1981 Upgrade

The Rolling Stones’ 1981 US tour was blessed with so many sound sources that it seemed like most of the performances could be covered with video and radio broadcasts, and the sound board from the PA out could cover most of the performances. It was more than 10 years ago that a series of PA out sound boards were leaked. Naturally, many items were produced, but it is nostalgic now that the original sound sources were bought and sold online. It was a dream situation that could be called a mass excavation. As a result, it was the most blessed period of the Stones tour from 1969 to 1982. Thanks to this, the significance of the real-time release “STILL LIFE” was completely diluted. Among the series of sound boards that appeared at that time, the one that stood out was the Atlanta Fox Theater on October 26th. As you can see from the name of the venue, it was a secret gig at the theater that was held only once during the tour. Despite this, there was an audience recording on this day, which pleased enthusiasts before sound quality, but it was surprising that it was excavated until this day on the wave of the SBD leak rush. What surprised me in another way about this sound source was that even the sound board with the PA out, where the basic band’s performance is exposed, captured a box-like texture that is different from the stadium show. It is interesting because the presence of each instrument is closer to the close than the SBD that recorded the stadium. If you think about it, the PA settings are fundamentally different between the stadium and the theater. If that’s the case, it’s only natural that there will be differences in the sound quality of the sound board recording via the PA. This sound source has a unique presence among the 1981 SBDs, but the sound quality was different from the SBDs of other days. This is because the first four songs from the start of the live performance were in a veiled, coarse state. In DAC’s “ATLANTA FOX THEATRE” (hereinafter referred to as the “already released version”), which was released in real time after the leak, the sound source was turned up to try to eliminate this discomfort (which was a natural process at the time), and the hiss was increased as a result. Furthermore, the same problem was observed in some of the 1981 SBDs, where the pitch rose midway through the recording and the tape started to twist as the recording progressed. The twisting became more noticeable after “All Down The Line”, which was the second cassette change. These problems were neglected in the previously released versions, but for this release, Graf Zeppelin went back to the original recordings that were available at the time and thoroughly brushed up on these issues. In particular, the tape twisting that occurred in the latter half of the live performance was quite stressful to listen to, so just by resolving this issue, it has become much easier to listen to. In addition, the pitch rise that was noticeable from the middle of the live performance was adjusted, and the cut that occurred when the cassette side was changed in the middle of “Let Me Go”, a specialty of the 1981 SBD, and the cut in the previous “All Down ~” were both meticulously compensated for from the audience recording of the same day. Listening to this part makes you realize once again how grateful you are that the precious theater gig was preserved on SBD. The 1978 Passaic is the best example, but it’s still special to be able to hear their theater gigs on SBD, and the texture unique to the PA out is also perfect for the gig. Since it’s a theater gig, the performance is quite different from a normal stadium concert…or rather, it’s rough (lol). There are many scenes that make you want to call this the Rolling Stones in full swing. What’s interesting is that the performance is disrupted from “Neighbours”, where the veil at the beginning of the recording was lifted and the prospect was clear. Here, for some reason the performance was forced to end immediately after the interlude, and Mick, who was stunned, tried to bring it into a reprise and tried to match Charlie, but in vain, the other members didn’t get on and it ended as it was. Furthermore, perhaps because the theater gig inserted between the familiar stadium shows was difficult to set up, there was a problem with Charlie’s sound disappearing when the performance started on “Let Me Go” and “Tumbling Dice”. This was especially serious in the former, and the performance at the beginning was shaky. Speaking of shaky, the first half of “Beast Of Burden” and the end of the finale “Jumping Jack Flash” were so shaky that they almost went beyond shaky and became messy. It’s already been a month since the tour, and there are many scenes where it seems like they’re confused by suddenly returning to a small venue, which is very interesting. This day is also a valuable record as the day when Chuck Leavell, who still bears the heavy responsibility of supporting the Stones, joined the Stones’ stage for the first time. His member introduction, which has become commonplace now, is fresh here, with Mick introducing him as “Also keyboard,” and it’s also SBD, so you can hear it clearly. The precious PA out sound board has been brushed up. Listening to this, the irregular finale of playing “Street Fighting Man” instead of “Satisfaction,” and the unconventional performance throughout the whole show. In addition, a new friend (= Leavell) was invited onto the stage, making this a literally unique gig that is completely different from a normal stadium show. It’s a soundboard album that sounds as if it’s saying, “Today it’s our turn to have fun!” (Remastering memo) The SB part has been adjusted in pitch, band, and volume. In addition, the tape twists found after the cut of All Down The Line have been appropriately corrected. The recording time is quite different from the previously released DAC version, but the DAC pitch is deemed high. The beginning (around When The Whip Comes Down) is somewhat humiliating, but on the other hand, the previously released DAC version has excessive high frequencies and excessive hiss (until the count of the 2nd to 5th songs). There is also a tape splice immediately after the count at the beginning of “Neighbours”, probably due to the high frequency processing work (the hiss suddenly drops here). There is no splice on this version. Fox Theatre, Atlanta, GA, USA 26th October 1981 SBD(UPGRADE) Disc 1 (60:19) 01. Take The A Train 02. Under My Thumb 03. When The Whip Comes Down 04. Let’s Spend The Night Together 05. Shattered 06. Neighbours 07. Black Limousine 08. Just My Imagination 09. Twenty Flight Rock 10. Let Me Go ★2:28-2:51 Aud supplement 11. Time Is On My Side 12. Beast Of Burden 13. Waiting On A Friend 14. Let It Bleed Disc 2 (57:01) 01. You Can’t Always Get What You Want 02. Band Introductions 03. Little T & A 04. Tumbling Dice 05. She’s So Cold 06. All Down The Line ★Audition supplement from 2:49 onwards 07. Hang Fire ★Audition supplement from 0:00 to 0:22 08. Miss You 09. Start Me Up 10. Honky Tonk Women 11. Brown Sugar 12. Street Fighting Man 13. Jumping Jack Flash SOUNDBOARD RECORDING