Description
This month marks the 50th anniversary of the Stones’ 1969 American tour. As a vanguard, the upper version of the free concert at Altamont “ALTAMONT 1969” has been very popular, but this time we will release the best version of the expert-like live sound source from 1969. This tour is not only the Stones’ first bootleg called “Liver Than You’ll Ever Be,” but also the first audience recording boot in rock history. “Liver”, which recorded the Oakland performance on November 9th, was an audience album of amazing quality at the time, and it caused a huge sensation when it was released in 1969. Perhaps because the impact of the Oakland performance heard on this “Liver” was so great, or perhaps because there was no other bootlegger (rival) who could release a Stones show, other 1969 tour sound sources were not released soon. It wasn’t released. The TMOQ team that recorded “Liver” released other performances, namely San Diego, much later, and “STONED M.S.G.” was also released after 1971. Surprisingly, the release of the 1969 tour following “Liver” was an item that recorded the Detroit performance on November 24th. Such a Detroit performance was one of the Stones’ earliest boots after the previous “Liver”, and was released as “WE DIDN’T REALLY GET IT ON UNTIL DETROIT” on the purple label. Afterwards, copy discs such as “R.S.” without a label and “WE NEVER REALLY GOT IT ON TILL DETROIT” released by Contra Band with a different title were created, but it was recorded in stereo, which was very unusual for 1969. A major problem is that the sound source that was previously used is downgraded to monaural. What’s more, the original sound source of “WE DIDN’T REALLY GET IT ON UNTIL DETROIT” LP is not distributed among traders like “Liver”, and in fact, it is the only one to date that includes the 1969 Detroit performance. It is said that its value as a sound source has not diminished yet. For that reason, some items based on LP have been released on CD, but among them, DAC “SOME SATANIC TOUR VOL.2” seems to be the best at the moment. However, perhaps because they didn’t like the hiss of the original recording, some of the songs were converted to monaural, and most of all, they disliked the audience cheers between songs that were typical of a Stones show in America, so they cut out most of them. was applied. Moreover, because of the cut, in addition to the moment when “Little Queenie” started, there was also the disadvantage that the lingering sound at the end of some performances was cut off. Therefore, this time, a collector provided us with the rare “WE DIDN’T REALLY GET IT ON UNTIL DETROIT” LP, and we once again carefully made it into a CD. However, it is the earliest boot LP after all. The quality of the disc itself was poor, and it was extremely difficult to make a clean transfer from it. This is evidenced by the fact that past items also lacked noise processing. That’s why it is natural to remove scratch noise using the latest technology, and of course adjust the changes in the stereo sound image after “Prodigal Son”, which was pointed out in the research book. As for the pitch, it goes without saying. And above all, this time the whole thing is recorded in the LP’s original stereo audience, so the rich sense of presence of the Detroit performance is revived with stereo recording, which was extremely rare in 1969. It is true that the excitement of the surrounding audience between songs is noticeable, but it is also interesting enough as a real document of the time. The most masterpiece was around “Live With Me” when Taper got distracted by the excitement in the venue and ended up hitting the microphone several times. That’s all well and good, but before and after “Honky Tonk Women,” the audience’s enthusiasm has finally escalated, and they’re checking the left and right microphones saying “testing! 1, 2…”, so it’s nothing short of funny. In 1969, when the act of recording a concert was still a rarity, here is the tear-jerking scene of Taper attempting stereo recording. The sound source that he took pains to record has a wonderful sense of distance and a sense of realism that can only be achieved with stereo. Of course, compared to “Liver” which was a super honor student audience even though it is monaural, there is a roughness including hiss noise, and it is true that it is a sound source for enthusiasts overall. Still, the miraculous stereo recording in 1969 is attractive enough. Also, compared to “Liver”, which was the completed version of the early stage of the 1969 tour, this one is valuable because it captures the band’s voltage starting to rise just a few days before the masterpiece performance of the century at Madison Square Garden. is high. Unlike that time, “Sympathy For The Devil” has evolved into an arrangement that includes Taylor’s guitar solo, and “Midnight Rambler” has a pattern that is different from other shows with the combination of Keith’s chopping and Taylor’s cutting. You will be asked. Mick also seemed confident as the tour entered the middle of the tour, and the audience was overjoyed when he sang a parody of “Detroit city” during the exciting “Honky Tonk Women.” This scene and the excitement that brought the entire venue together during “Satisfaction” have a realistic texture that stands out because of the stereo recording. We have carefully sealed this vintage LP, which still retains its value. Coincidentally, the 50th anniversary of the Detroit performance is just around the corner, so please enjoy the entire series with its natural and rich original stereo sound! (Remaster Memo) ★Pitch adjustment. ★Equalization/left/right balance adjustment/sound pressure adjustment/needle patter removed. Olympia Stadium, Detroit, Michigan, USA 24th November 1969 (67:59) 1. Intro. 2. Jumping Jack Flash 3. Carol 4. Sympathy For The Devil 5. Stray Cat Blues 6. Love In Vain 7. Prodigal Son 8. You Gotta Move 9. Under My Thumb 10. Midnight Rambler 11. Live With Me 12. Little Queenie 13. Satisfaction 14. Honky Tonk Women 15. Street Fighting Man
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