Rolling Stones/Sydney, Australia 1973 Soundboard Remastered

Although there was a soundboard at the end of the 1973 Winter Tour, the audience recording of the day was released before the soundboard, with the aim of including the excitement of the venue and unrecorded footage that could not be conveyed there. “SYDNEY 1973 1ST NIGHT” was released. However, it was very well received by enthusiasts, and it was a good start to the Winter Tour release. The secret to its high evaluation is the stunning upper version of “recorder 1” from the audience recording of the day, which was overlooked for the above reasons. After all, the PA soundboard is weak in terms of realism. Therefore, it was not only a document that conveys the realism of the concert and the intense excitement of the day, but also a simple audience recording of the Winter Tour that can be enjoyed. In that case, it is inevitable to release the PA soundboard of this day. As mentioned at the time of the release of the previous audience board, there are parts that were not recorded on this day. It is clear that a new best version can be created by using the upper version of “recorder 1” realized in “SYDNEY 1973 1ST NIGHT” instead of the conventional “recorder 2”, which was a supplementary member. So, the strongest hybrid version of soundboard + audience will finally be released this time. Since the supplementary member “recorder 1” was perfected with the release of “SYDNEY 1973 1ST NIGHT”, the important thing in this release is, of course, the stereo-recorded PA soundboard part. This sound source was initially used as a supplementary member soundboard in Perth on the 24th, and was later used for “LIVE IN PERTH AUSTRALIA” released by a label called ROCKWHILE, which calls itself Scorpio, and it is nostalgic that it made enthusiasts happy, saying, “Is this finally a complete soundboard?” As expected, this was taken seriously and a copy of the nostalgic TSP “ROCKS OFF!” was produced, which initially led people to believe it was the complete version of Perth. However, the matter was settled when this day was coupled with Perth on the OH BOY! “HAPPY BIRTHDAY NICKY”. However, unlike Perth, this was available on tape, and titles that were not copies of it, such as “A STICKY SYDNEY RACECOURSE” and the VGP label “ROCK ‘N ROLL STEW”, which was considered the definitive version of the 90s, appeared, and in recent years, DISC-2 of DAC’s “HAPPY BIRTHDAY NICKY” reigned supreme. However, the DAC version has a noticeable high tone, so this time Graf Zeppelin decided to use the old OH BOY! in order to pursue a more natural texture. Thanks to Graf Zeppelin’s brush-up based on that, this time the high notes are not overbearing, but have been upgraded to a natural, refreshing and clear sound quality. You can feel the difference in sound quality by listening to “Rocks Off”, where Keith’s guitar resonates with a rough texture from the intro and Bill’s bass roars. In the first place, even though the recording method of this “Rocks Off” is different, it is surprising that it is played with a wild momentum that is completely different from the speed of the US tour six months ago. And the DAC version, which has traditionally been considered the best, filled in the missing parts with the audience “recorder 2”, but now the upper version “recorder 1” is easier to listen to. The former had Keith’s guitar sound prominent and the sound image was far away. Of course, it is true that even the latter used this time is a rough audience recording for enthusiasts, but it is still definitely easier to listen to. Graf Zeppelin does not use “SYDNEY 1973 1ST NIGHT” as it is. The missing parts are filled in after adjusting the sound. On the contrary, the distortion in the Beatles’ “Don’t Bother Me”, the BGM that was played at the venue before the Stones’ appearance, which was a hot topic in this upper version, was thoroughly adjusted. In this way, there are not many sound sources that give you the pleasure of listening to and comparing each other at a live performance where both the sound board and the audience are present. In the first place, the three days in Australia are stereo, so it picks up a sense of realism more than the conventional mono PA sound board. Still, it does not match “recorder 1”, but on the other hand, the PA sound board that highlights the outline of the performance is the reason why Charlie is overwhelmed by the fierce drumming of “Midnight Rambler” that stirs up in the beginning. In addition, the audience can hear the performance of “Love In Vain”, which captured the audience’s squabbles, here. The three days in Australia where the soundboard was left behind can be enjoyed with their own unique high tension, but compared to Perth, where Mick was extremely sharp, this day conveyed a wild momentum as if he and the band were in competition. Of course, this time the intro to “Gimme Shelter” did not fall into confusion like Perth. What’s interesting is that Perth had the shortest soundboard recording time, more songs were recorded on this day, and the recording condition improved as the schedule progressed, with all songs recorded on the last “SYDNEY 1973 2ND NIGHT: SOUNDBOARD”. For that reason, the appearance of a new definitive version that combines the best of both the soundboard and the audience was awaited for this performance, which has an audience recording. Enjoy everything from the first day in Sydney with this new definitive version that can be said to be the long-awaited one for enthusiasts. (Remaster Memo) This is also remastered based on OH BOY, and the missing parts are filled in with Aud Rec1 to reproduce the full length version. The base OH BOY version has been corrected for phase and low-frequency EQ. The previously released DAC version does not seem to be a copy of OH BOY (there is no missing honky at the beginning), but the high frequencies are noisy, so this version is easier to listen to. The slight gaps between the songs before Honky and in the intro have been compensated for by EQ processing and other corrections from the DAC version. The live intro, the beginning of Brown Sugar, JJF, and SFM, which were not yet released on the OH BOY version, have been remastered and compensated for by remastering the Aud Rec1 from the other day. This Aud Rec1 has been EQ adjusted and the pitch corrected while taking into consideration the alignment with the main soundboard audio. (Although there is still a considerable difference in sound quality.) The tape twist of the Beatles intro has also been corrected. In Brown Sugar, the Aud Rec1 was quite high in pitch at the beginning, but this Aud Rec1 has been corrected. Also, the beginning of SFM seemed to be missing a moment in this Aud Rec1, so the previously released Rec2 has been overdubbed to avoid any sense of incongruity. Also, the pitch of the two songs JJF and SFM was slightly lower, which was corrected. Live at Royal Randwick Racecourse, Sydney, Australia 26th February 1973 (78:31) 01. Audience / 2000 Light Years From Home Intro ★Full Aud Rec1 / Tape warp correction 02. Brown Sugar ★0:00-040 Aud Rec1 / Higher pitch correction at the beginning 03. Bitch 04. Rocks Off 05. Gimme Shelter 06. Happy 07. Tumbling Dice 08. Love In Vain 09. Sweet Virginia 10. You Can’t Always Get Want You Want 11. Honky Tonk Women ★Only about 1 second of the intro and gaps before the performance are compensated for from the DAC 12. All Down The Line 13. Midnight Rambler 14. Band Introductions 15. Little Queenie 16. Rip This Joint 17. Jumping Jack Flash ★Full Aud Rec1 18. Street Fighting Man ★Full Aud Rec1 ★Overdub Rec2 for a moment at the beginning 19. Land Of Hope And Glory with Fireworks ★Full Aud Rec1