Rolling Stones/Sydney, Australia 1973 Upgrade & more

Even though soundboard recordings are widespread today, they still teach us the fun of listening to audience recordings on the same day…the Rolling Stones’ 1973 Sydney performance is a typical example. The 1973 Sydney performance, which was held twice, was surprisingly PA-out on both stages, and soundboard recordings that were distributed to stereo were leaked, but the first day was blessed with two more audience recordings. As long as the soundboard exists, it will be a sub-source, but it is certain that it was still an existence that could not be ignored. There are two types of audience recordings, but the first one, “recorder 1”, was first released on the IMP label’s “WINTER TOUR 1973”. However, even at that time, the soundboard was so dominant that it was not even noticed. Interestingly, the other sound source, “recorder 2”, was also released not long after the release. It was the S-released “VIP DISHED JOINT”. Both of these audience recordings were mono, but first of all, “recorder 1” had a rough and raspy texture, but the Stones’ performance and Mick’s vocals were captured in a large balance, making it easy enough for the audience of this tour to hear. In that respect, “recorder 2” captured the performance in a large balance, but had the problem of a muffled sound quality. Despite this, it was “recorder 2” that was used as a supplement for items that mainly used sound boards, such as the DAC “HAPPY BIRTHDAY NICKY”. This is because “recorder 1” was clearly superior to “recorder 2” in total, but the previous “WINTER TOUR 1973” (hereinafter referred to as “already released”) used a cassette that had fallen out of gen, which resulted in the difficulty of listening to the original sound source being emphasized, and the original appeal of the sound source was not conveyed. In the first place, due to the existence of the sound board, it had been a long time since either audience had released an item, but this year, a version recorded from the master cassette suddenly appeared for “recorder 1”. This had achieved an amazing improvement in sound quality. Of course, the dimensions of the previously released version using the 1990s Gene-out cassette and the version transferred from the master using the latest technology are too different to compete, but even so, the upper feeling is really easy to understand. Moreover, for enthusiasts who have the previously released version, you will be surprised at how easy it is to listen to, far beyond your imagination. As expected, there is only the master cassette, and the upper feeling, which has been peeled off not only one layer but two layers from the previously released version, and especially the freshness is wonderful. In addition, the latest technology has been used to suppress the rough texture of the original sound source without overdoing it, making it even easier to listen to. In this case, it is no longer comparable to the previously released version. The biggest attraction of this audience is that it conveys the dynamics of the performance on this day more than the sound board, and even the tremendous excitement. Indeed, the PA out sound board on this day was stereo, so it was very impressive, and it was naturally considered one of the standard sound sources. However, it is the fate of the PA sound board, and there is no hope for a sense of realism. However, what about the tremendous excitement that comes from this sound source? Just when the Stones first appeared, there was a storm of applause, and the liveliness of the excitement that united the venue during “Honky Tonk Women” and “Little Queenie” was a real documentary feeling that was completely different from the sound board. Another outstanding feature of this sound source is that it also captures the state of the venue before the Stones’ appearance, and although “recorder 2” was already recorded while “2000 Light Years From Home” was playing, which announced the Stones’ appearance, this one started recording before it sounded, and it was also valuable to let us know that the song that was being played there was “Don’t Bother Me” by the Beatles (a tough song selection, lol). And as was also proven by the sound board, Mick, who had been singing so freely at the “HAPPY BIRTHDAY NICKY” show two days ago in Perth, was even more sharp on this day. The vividness of his tireless hyper shout reverberating through the venue will be a big shock to those who have only heard this day on the sound board. Of course, since it is a mono recording, it is also a sound source that can be enjoyed more from speakers than headphones. Furthermore, from around “Love In Vain”, a small skirmish occurs in which a female customer near the taper tells the audience in front of her to “sit down”. And yet, the fact that the excitement and such scenes are captured without falling into a balance that would interfere with the performance is a major attraction of this sound source. Moreover, since the opening and closing songs of “Brown Sugar” were not included in the PA sound board, the value of this sound source has not faded yet. The overlooked another side sound source of the first day in Sydney, which realistically conveys the “realism” and “momentum of the performance” that are the advantages of audience recording, is an amazing upgrade! Royal Randwick Racecourse, Sydney, Australia 26th February 1973 TRULY AMAZING/PERFECT SOUND(UPGRADE) Master Cassette Upgrade From Waz From Oz Archives Disc 1 (37:38) 1. Audience / 2000 Light Years From Home Intro 2. Brown Sugar 3. Bitch 4. Rocks Off 5. Gimme Shelter 6. Happy 7. Tumbling Dice 8. Love In Vain 9 Sweet Virginia Disc 2 (48:25) 1. You Can’t Always Get Want You Want 2. Honky Tonk Women 3. All Down The Line 4. Midnight Rambler 5. Band Introductions 6. Little Queenie 7. Rip This Joint 8. Jumping Jack Flash 9. Street Fighting Man 10. Land Of Hope And Glory with Fireworks Bonus Track11. 2SM Sydney Radio December 1974 Interview with Mick Jagger About Mick Taylor Leaving The Stones