This is the best live album reissue of Bowie's last world tour "A REALITY TOUR 2003-2004". From this tour, the image of the official work “A REALITY TOUR” and the last performance in Japan is vivid, but this work was recorded later than those. This is the audience album for "April 17, 2004 Berkeley Performance". The Japan performance will be in March 2004, and the tour will end in June 2004, so this will be a concert in between. Even though it is an audience, the quality is wonderful apart from the audience recording. The musical tone is just so clear and beautiful. Not only are all the musical sounds beautifully and well-balanced, but each note is very glossy. In particular, the smoothness of Bowie's singing voice is exquisite. Moreover, it continues without any blurring from the beginning to the end of the performance. Although it is a musical sound that I would like to call “like a sound board” without hesitation, this work is definitely an audience recording. The audience voices that were picked up in large numbers are extremely realistic and can be heard leaking through the gaps between the musical sounds. You could say it's like "it's like overdubbing the sound board audio with very slight reverberation and audience noise." It is a sound that is like a model for audience recording where you can enjoy wonderfully beautiful Bowie music without any of the brightness of line recording. I'm especially happy about such a balance because I get to discover many famous songs that I wasn't able to hear at the Japanese performance. Just to name a few, you can listen to plenty of songs that were included in the set after the Japanese performance, such as “The Motel,” “Panic In Detroit,” “Let’s Dance,” “The Supermen,” “Always Crashing In The Same Car,” and “Pablo Picasso.” What's more, it's not just rare; it's amazing. For example, during the intro of "Panic In Detroit," the audience cheered as they recognized the song, and during "The Supermen," they called out a song, but the intro made them wonder, "Which song is it?" Of course, when the song starts, things get exciting, and at the end they get a big ovation, but this is exactly what it's like to perform a rare song. Joy, upset, and confusion are all unique to realistic audience recordings. Even if it is the same rare song, it does not work like this on the sound board or official. It's hard to understand the reaction without the cheers, or it's strangely overshadowed by the loud cheers from the enthusiastic audience. Although it is full of the real thrill of "participating in a live performance" that is fundamentally different from those, it does not spoil the exquisite soundboard-quality music. This is the reason why this work is special even in numerous audience recordings. "Customer's secret records". The more I think about it, the more mysterious this culture is. In terms of audio value, an official live album carefully polished by an artist or a broadcast sound source made by a professional should be sufficient. Even among people who consider themselves ``music fans'', there are very few who love audience recording. However, the important thing is that there are definitely people who love it, even if only a few, and that they can understand its appeal. Even if you are strangers, there is a universal appeal and beauty in being able to communicate by saying, ``It looks like a real scene,'' or ``This reverberation is great.'' This work is a live album that encapsulates such charm with unparalleled quality. To be honest, even though it is Bowie's last world tour, this work is not a historical night, but only a "record of one night". However, on that "one night", Bowie was in such a good mood that he sang a rockabilly song following "Rebel Rebel", and the audience was surprised and delighted by the rare song. I want as many people as possible to know about the joy of being in that situation. It would be a waste to leave it buried in a collector's list. This is a reissue with such sincerity in mind. A live album that takes you to concerts that are difficult to even know about in Japan. This is a piece full of the ideal sense of the scene, where the audience's emotions leak out through the gaps in the exquisite music. We present this masterpiece to those of you who understand its charm. Live at the Berkeley Community Theatre, Berkeley, CA. USA 17th April 2004 TRULY PERFECT SOUND Disc 1(71:20) 1. Intro 2. Rebel Rebel 3. New Killer Star 4. Looking For Water 5. Cactus 6. Reality 7. All The Young Dudes 8. China Girl 9. A New Career In A New Town 10. The Motel 11. The Loneliest Guy 12. Panic In Detroit 13. Let's Dance 14. The Man Sold The World 15. The Supermen Disc 2(78 :26) 1. Sunday 2. Heathen (The Rays) 3. Under Pressure 4. Days 5. Always Crashing In The Same Car 6. Pablo Picasso 7. Ashes To Ashes 8. Quicksand 9. Hang On To Yourself 10. "Heroes" " 11. Bring Me The Disco King12. Five Years 13. Suffragette City 14. Ziggy Stardust David Bowie - vocals, guitars, stylophone, harmonica. Earl Slick - lead guitar Gerry Leonard - lead guitar, b-voc. Gail Ann Dorsey - bass , vocals Mike Garson - piano, keyboards. Catherine Russel - b-voc, percussion, keyboards & guitars Sterling Campbell – drums
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