Rolling Stones, New Barnarians/Canada 1979 2nd Show

The CNIB charity concert in Canada in 1979 was a rare stage where the New Barbarians and the Stones appeared side by side. This time, we will naturally release not only the first show but also the eternal standard second show. For this episode, excellent sound sources from both the audience and the sound board have been available for a long time, and even before the specificity of the gig, it has established a solid position as one of the live sound sources of the 1970s Stones that can be enjoyed by everyone. The order in which these sound sources were excavated was the audience in the LP era and the soundboard in the CD era, which was very venerable (lol). If you’re an enthusiast, you’ve probably been familiar with both. The main feature of this release is the soundboard recording. More than 20 years ago, the appearance of the sound board for the second show of the CNIB concert, which had been familiar with the best audience recording until then, caused a huge sensation. Understandably, there was a fierce battle between competing items, and the one that easily won the battle was the nostalgic TSP label’s “BLIND DATE REVISITED.” Unlike the VGP and Kunya Moji SHAVED DISC items, the big difference was that the missing parts were supplemented with the LP audience recording. It was a victory for TSP, which had introduced the now common practice of supplementing with another sound source on the same day in 1995. However, it is TSP, which has been heavily equalized throughout, and the crisp cymbal sound that is typical of that label can’t help but feel dated now. It is true that the sound sources recorded in those items had been dubbed several times and had a sense of deterioration, a so-called “generation drop”, and TSP’s finish, which tried to alleviate this problem even a little, was also different at the time. It wasn’t that bad. As proof of this, until now, only copy discs based on TSP have been produced for the second show of CNIB concerts. The fact that copies were made even into the 2010s is proof that this is a masterpiece that boasts an unusually long lifespan in the boot world. That said, coupled with the antiquated feel of the previous Equalize, there was a strong desire for a new upper version. More than 20 years have passed since the release of each item in 1995, including the nostalgic TSP edition, and now the upper version of the original soundboard has finally appeared! It is no exaggeration to say that Krw_co, which has established a tremendous position in the rare sound source world, released the long-awaited upgraded version on the internet. He obtained the first generation sound source, which was copied onto the reel from the original master cassette. And the upper feeling of this released version is vivid. The quality is so amazing that it instantly makes each item released 20 years ago unnecessary. Those items could not hide the sense of deterioration because they were uniformly dubbed by cassette, but that is why the clarity of this low generation version stands out. In addition, even though it was recorded on a soundboard with PA output, each instrument was properly distributed to the left and right, making the stereo sound even more outstanding due to the improved sound quality. Also, it is unique to the upper version sound source that the announcement before the concert starts is long, and the announcement after the concert is heard for the first time. Regarding the recording defects that occurred in “I Can Feel The Fire” and “Respectable”, we have patched the LP audience recording this time as well. This is also a state where there is no excessive equalization like TSP, and it is a recording with an on-sound image, so it is compensated for without any discomfort to the extent that you will be surprised when listening to it. Actually, with this Krw_co version, the pitch was probably messed up when it was dropped from the master to the reel, and the net had the drawback of being raised while the pitch remained high. Of course, we have made careful adjustments to this part, so we guarantee a finished product that you can listen to with confidence. There are probably many enthusiasts who have a strong attachment to the audience recording heard on that LP. With the title “BLIND DATE” and the red jacket featuring Keith singing, this is a masterpiece that quickly made us aware of the New Barbarians’ live performance. However, the original version of “BLIND DATE” was not a red jacket, but a very simple design with the title stamped on the jacket (several versions exist), and later a slick jacket with the title and band members’ names on it was also used. Appeared. These consistently white and simply constructed versions came first. The person who released them was Ken Douglas, who led labels such as TMOQ and TAKRL. When he introduced color jackets in album production from 1980, it was the red jacket that was promoted to color jacket and re-released along with the Stones’ masterpiece boot “BLIGHT LIGHTS BIG CITY”. In the early days of the CD era, inferior LP drop-off items were made with the same red jacket (albeit with a slipcase featuring a photo of Keith holding up his middle finger). This time, we have carefully converted the nostalgic mint condition red jacket into a CD. Easily playback audience recordings familiar to enthusiasts with clear sound without scratch noise. Although it is bad in front of the sound board that has undergone a dramatic upgrade this time, the quality of the sound of the audience recording is still good enough to listen to. In addition, the cut at the end of Stanley Clarke’s bass solo in “Am I Grooving You”, which became clear with the appearance of the sound board, introduced a novel editing that realized complete recording by supplementing from the sound board. The audience recording itself is a very active sound image, so this is also connected surprisingly naturally. And as I felt at the first show released at the same time, I think the good parts of New Barbarians are coming out on this day’s stage. When the Barbarians went on solo tours, like Largo, members other than Clark would often get intoxicated during the two-hour arena show, resulting in just a dull live performance. In that respect, each show is less than an hour long, and since it is a debut gig, you can clearly see that they are playing hard. Furthermore, the rhythm section of the Drunken Stones, the genius jazz bassist Clark, and the Meters’ Jigaboo Modelist is undeniably a “strawberry daifuku” combination, and the performance at CINB Cosart was the best. I feel like that. On the other hand, the Stones changed their tune from the first show and had a series of incidents, but Mick didn’t start singing on “Star Star”, which could be said to be the trigger, and in the end, after going around one more time, Keith replayed the intro. The scene where Mick starts singing is very thrilling whether you listen to it on the sound board or the audience. Rather, I think it is one of the famous happenings. After that, the momentum of the previous year’s American tour continues, both in terms of repertoire and performance. However, during “Shattered”, there was frequent noise that seemed to be a PA problem, and even the performance became suspicious. The noise is especially real on the soundboard. When that settled down, Clark joined the Stones in “Miss You” and repeated chopper playing techniques. I can’t say that I was able to read the atmosphere during the live session, but at least Clark was satisfied because he was able to join a big group in the rock world on stage after collaborating with Jeff Beck the previous year. . One thing I can say is that you can listen to these performances both on the soundboard and in the audience without getting tired. The sound board that has been dramatically upgraded is enough to surprise enthusiasts all over the world, but there is no doubt that the careful conversion of the LP to CD, which has only now been realized, will also move enthusiasts to tears. The realistic feeling and surprisingly on-sound image heard in the audience recording are also truly wonderful. “Canadian National Institute for the Blind Benefit” Oshawa Stadium, Toronto, Canada 22nd April 1979 (2nd Show)Soundboard Source Disc 1 (53:46) THE NEW BARBARIANS 1. DJ Intro 2. Intro by John Belushi 3. Sweet Little Rock’ n Roller 4. F.U.C. Her 5. Breathe On Me 6. Infekshun 7. I Can Feel The Fire Burnin’ ★2:40 – 2:59 Compensation 8. Am I Grooving You 9. Bass/Drum Jam 10. Seven Days 11. Before They Make Me Run Disc 2 (58:58) THE ROLLING STONES 1. Intro 2. Prodigal Son 3. Let It Rock ★3:09 – Compensation until the end 4. Respectable　★0:00 – 0:22 Compensation 5. Star Star 6. Beast Of Burden 7. Just My Imagination 8. When The Whip Comes Down 9. Shattered ★3:15 – 4:07 Compensation 10. Miss You (with Stanley Clarke) 11. Jumping Jack Flash 12. Outro. LP Source Disc 3 (53:49) THE NEW BARBARIANS 1. DJ Intro ★0:00 – 0:09 Compensation 2. Intro by John Belushi 3. Sweet Little Rock’n Roller 4. F.U.C. Her ★4:03 – 4:33 Compensation 5. Breathe On Me ★9:34 – Fill in until the end 6. Infekshun ★4:12 – 4:15 Fill in 7. I Can Feel The Fire Burnin’ ★6:31 – 7:01 Fill in 8. Am I Grooving You 9 . Bass/Drum Jam ★2:44 – 3:02 Compensation 10. Seven Days 11. Before They Make Me Run ★3:18 – 3:49 / 3:59 – Compensation until the end Disc 4 (59:00) THE ROLLING STONES 1. Intro ★0:00 – 0:14 Compensation 2. Prodigal Son ★2:42 – 2:54 Compensation 3. Let It Rock 4. Respectable 5. Star Star 6. Beast Of Burden ★6:48 – 6: 52 Compensation 7. Just My Imagination ★6:47 – 6:57 Complement 8. When The Whip Comes Down ★4:54 – Complement until the end 9. Shattered 10. Miss You (with Stanley Clarke) ★9:51 – Until the end Compensation 11. Jumping Jack Flash ★7:31 – Complement until the end 12. Outro. ★Complete all THE NEW BARBARIANS Ron Wood – Guitar, Harmonica, Pedal Steel, Guitar, Vocals Keith Richards – Guitar, Piano, Vocals Stanley Clarke – Bass Ian McLagan – Piano, Organ, Backing Vocals Bobby Keys – Saxophone Joseph Modeliste – Drums THE ROLLING STONES Mick Jagger – Vocals Keith Richards – Guitar, Vocals Charlie Watts – Drums Ron Wood – Guitar Bill Wyman – Bass Ian McLagan – Piano, Organ, Backing Vocals Bobby Keys – Saxophone