Sting/Argentina 1994

Introducing a super-excellent soundboard album that co-stars with James Taylor and Mercedes Sosa. This work includes “March 25, 1994 Buenos Aires performance”. This is an act of “TEN SUMMONER’S TALES TOUR”. This tour is a huge one that took two whole years starting in 1993. First, let’s check the show’s position from the overall picture of the world tour. [1993] – March 12th – April 22nd: Europe #1 (30 performances) – April 30th – June 26th: North America #1 (44 performances) – July 2nd – October 31st :Europe #2+Foxboro (46 performances) [1994]・January 7-14: Europe #3 (7 performances)・January 18-February 13: Japan #1/Asia/Australia ( 21 performances) ・February 18th – March 27th: North America #2/South America (22 performances)←★Here★・September 18th – October 23rd: Europe #4/South Africa (16 performances)・October 31st: Japan #2 (1 performance) [1995] June 16th-22nd: Japan #3 (5 performances) This literally extends not only to Europe/North America but also to Asia, Oceania, and South Africa. A world tour. Among them, the Buenos Aires performance of this work was the 20th concert of the “South America” leg. This show has been known for its soundboard recording for a long time, and has been called a masterpiece and masterpiece in the numerous “TEN SUMMONER’S TALES TOUR” records. This work is the highest peak live album. In fact, the quality of this work is ultimate. It is a super superb sound that is far from the so-called “South American quality”. In the 1990s, the music industry developed significantly in South America, and as a result, bands and artists from all over the world were performing. Melodious classic rock is especially popular, and many big names broadcast it on soundboards and professional shots. However, because broadcasting technology and the environment are still in the process of development, there are many cases where the quality is not so good that the audience would be better off with it. However, this work is a valuable exception. Whether Sting was in charge of everything or whether it was a coincidence, it is an extremely high quality sound board. It is a perfect sound worthy of being called “official grade”. If there’s a slight South American feel to it, it’s probably a mix that feels a little rough. In the case of European and American broadcasts and official works, they try to create the atmosphere of a concert venue, but in this work, there is no loud cheering, and it is almost a direct connection to the table. As a result, you can enjoy an immersive experience in which the singing voice sounds like it’s coming from inside your brain, not just your ears. However, this roughness has its pros and cons. Instead of a feeling of direct connection, the balance of the sound may be lost. In fact, in the previous releases, the midrange is too much, and there are some scenes where the left and right stereo balance is disrupted. There were also small noises in dozens of locations. However, the master obtained this time has none of those drawbacks. Everything from highs to deep bass is beautiful, and if the stereo is great, there’s no noise at all. It was a rare sound board that was prepared to the official level, but the closeness of Sting’s singing voice was amazing. The sound depicted is the gem “TEN SUMMONER’S TALES TOUR”. The set is roughly “new songs + THE POLICE”, with 10 of the 12 songs from “TEN SUMMONER’S TALES” being a huge hit, and 7 songs from THE POLICE. In addition, “NOTHING LIKE THE SUN”‘s promised “Englishman In New York”, “Fragile”, “Straight To My Heart”, and a cover of the Beatles are sandwiched in. “A Day in the Life” is quite valuable, but the three new songs “It’s Probably Me,” “Saint Augustine in Hell,” and “Nothing ‘Bout Me” are even better than that. It has not been played since the 90’s, so it gives off a lot of the mood unique to this tour. From this tour, the official work “SUMMONER’S TRAVELS: LIVE 1993” was also produced, but you can enjoy 8 famous songs that can not be heard there. The highlight of this work is the last part. This is a co-starring performance with two gorgeous guests. First up is James Taylor, who will perform a duet of his new song “She’s Too Good For Me” and THE POLICE’s “Every Breath You Take.” Argentine folklore giant Mercedes Sosa will appear in the big last song, “Fragile.” This caused a huge uproar among the local audience. As mentioned earlier, there is almost no cheering in this work, but you can still see the atmosphere of the scene where it was noisy. Although it was far away and small, there was an explosion of a huge crowd. “Fragile” is sung in Spanish with a delicate acoustic guitar against the backdrop of this enthusiasm. It is an elegant and moving take that is suitable for concluding the superlative sound board. A set that can be called a “live performance version of TEN SUMMONER’S TALES”, luxurious and valuable co-stars, and the quality of the superlative sound board… Everything is amazing. This is the definitive live album that rivals the official album. Live at Valez Sarsfield Stadium, Buenos Aires, Argentina 25th March 1994 STEREO SBD Disc 1 (50:24) 1. If I Ever Loose My Faith 2. Heavy Coul No Rain 3. Love Is Stronger Than Justice 4. Seven Days 5. A Day In A Life 6. Fields Of Gold 7. Synchronicity II 8. Magic 9. Roxanne 10. Englishman In New York Disc 2 (57:12) 1. Probably Me 2. Shape Of My Heart 3. Saint Augustine In Hell 4. Straight To My Heart 5. King Of Pain 6. Bring On The Night / When The World Running Down 7. Nothing About Me 8. She’s Too Good For Me (with James Taylor) 9. Every Breath You Take (with James Taylor) 10 Fragile (with Mercedes Sosa) STEREO SOUNDBOARD RECORDING