Rolling Stones/NY,USA 7.23.1978 Upgrade

At the end of the Rolling Stones’ 1978 American tour, they held two shows at Anaheim Stadium on the 24th.A CD based on the analog LP “RETURN TO LIVER” was released exactly 10 years ago. While there was a track record, the only release titled “THE BURNING OUT” in the 1990s regarding the performance on the 23rd, and the surprisingly disadvantageous situation that there is still no other one, has continued for more than 20 years. Still, “THE BURNING OUT” (hereinafter referred to as the already released version) had a major drawback of severe pitch fluctuations at the beginning of the show because it was based on a trade cassette. Even if you were to play the music on a player that can control the pitch, you would have to make adjustments while listening, which would be extremely frustrating. As a result, even with the arrival of Reiwa, there were no new items released on the first day of Anaheim in 1978, but now the upper version has finally been released. First of all, not only the instability of the pitch in the fatal first half of the show of the already released version, but also the crazy pitch of the entire sound source was firmly adjusted. This alone has transformed it into a version that is incomparably listenable compared to the previously released version. Therefore, you can think of it as conceptually similar to “ANTWERP 1973.” The sound source for this day was an audience recording made at the stadium, so there is a sense of distance in the sound image, but it is definitely more active than the next day’s “RETURN TO LIVER”, and it is a stereo recording. Therefore, I think it can be said that it is an excellent sound source that is easier to access than that. The sound quality is a natural combination of a vintage audience feel in a good sense and an analog feel unique to cassette recording, and in this respect, I think many enthusiasts find it better than the next day. Since it is a cassette recording, there is certainly some hiss noise, but it also has a pleasant texture. If you erase the hiss contained here, the result will suddenly change to look like it has been equalized, and above all, the natural texture will be lost. Therefore, we took advantage of the natural feel of the sound source, avoided excessive equalization, and focused on adjusting the balance of the sound source as a whole. The result is really easy to listen to, and I think I’ll be able to listen to it better than the next day. As mentioned earlier, it was known among enthusiasts as a sound source that had only one item released so far, but the performance content was full of the looseness typical of the Stones of the 1970s. In the first place, the second Anaheim performance at the end of the tour and the Oakland Coliseum in Chiakiraku both use huge stadiums, and the shows still start in the daylight hours. It’s easy to imagine that for the Stones, who were suddenly night owls during this era, their natural looseness would be accelerated if they started in the daytime and performed at a stadium under the summer sun. can. Also, the 1978 tour was characterized by unrestrained and unruly performances led by Mick, who was conscious of punk, but on this day, in addition to the above reasons, and the fact that it was the end of the tour, there was a surprisingly laid-back atmosphere. I’m playing. In other words, you could call it a performance that gives you a sense of stability that is unique to 1978. However, it was 1978 in America. “Lies” explodes with the Stones-ness unique to this tour. The out-of-control performance explodes from the intro, and at the end everyone falls apart, showing off the looseness typical of 1978. The performance that seems to run with just momentum is truly fascinating. Also, the delicate sense of realism of the clapping that occurred at the beginning of “Miss You”, which brought the Stones back to the forefront of the hit charts, is unique to recording in a stadium, and it is unique to 1978 that this song was truly a hit. It’s nice to be able to see the scene. After that, the runaway performance centered around Mick continued, and it seems that it was 1978 that Mick’s sharp scream was heard on “Shattered” this time. However, from the scene, it seems as if Mick and the rest of the Stones (excluding the rhythm section) were drunk on alcohol rather than drugs. The first glimpse of this was in Keith’s “Happy.” He was so salty that he got the lyrics wrong, and even sang while muttering words that are banned from broadcasting, which is customary on this tour. Or perhaps he was overcome by the heat (if you look at the photos from that day, he is on stage wearing an outfit that is almost shirtless), but the next song doesn’t start and there is a strange pause. Mick and Ronnie started talking as a way to pass the time, but they were probably too drunk, and they were pretty groggy. When Keith finally played the intro to “Sweet Little Sixteen,” Mick lost track of the timing and asked for a redo over the microphone, but the whole band got on board and it was already too late. He has no choice but to start singing in the middle of the song, but his tone sounds more like he’s drunk than depressed. The last song, “Jumping Jack Flash,” was a 10-minute performance, including the usual reprise on this tour, but he also lost track of the timing to end midway through, and before he knew it, the performance had ended for 10 minutes. Feeling. It’s interesting to see how intoxicated the Stones are from this point. The next day, it is also known that Nicky Hopkins and Bobby Keys jumped in, but in fact, Nicky was on stage that day as well, and surprisingly, during the member introduction, Mick was introduced instead of Ian McLagan, who is a regular on this tour. It was an unusual treatment for him to be introduced (with a note saying, “I just wanted to join you.”). Indeed, in “Brown Sugar” there is a sound that sounds like a keyboard played by him. Although there is a reputation among enthusiasts that not only the sound quality but also the performance is better than the next day, the first day of 78 Anaheim did not show any new items for over 20 years. For most people, this release will be the first time they hear it. The pitch error, which was the biggest concern, has been completely resolved, and a title that will delight enthusiasts has finally been released, allowing you to listen to this day’s show carefully. Anyway, this is an interesting day where the charm of the loose 70’s Stones is on full display! Live at Anaheim Stadium, Anaheim, CA, USA 23rd July 1978 TRULY AMAZING SOUND Disc 1 (55:58) 1. Intro 2. Let It Rock 3. All Down the Line 4. Honky Tonk Women 5. Star Star 6. When the Whip Comes Down 7. Beast of Burden 8. Lies 9. Miss You 10. Just My Imagination Disc 2 (57:00) 1. Shattered 2. Respectable 3. Far Away Eyes 4. Love in Vain 5. Tumbling Dice 6. Happy 7. Sweet Little Sixteen 8. Brown Sugar 9. Jumping Jack Flash Mick Jagger : Vocals & Guitar Keith Richards : Guitar & Vocals Ron Wood : Guitar Bill Wyman : Bass Charlie Watts : Drums Ian McLagan : Keyboards Ian Stewart : Piano With Special Guests : Nicky Hopkins : Piano Bobby Keys : Saxophone on Miss You & Brown Sugar