A very special night of the "ZIGGY STARDUST TOUR" will be released with the highest quality. That special night was the "London performance on July 8, 1972". This day was a benefit performance by the international environmental organization "Friends Of The Earth", which was founded the previous year. It is also known as the day that Lou Reed first stood on the British stage, and it is a monumental concert where he and Bowie performed together. This show has been known for recordings for a long time, but this work is the highest peak of the matrix album. Before we get to the content of the show, let's start with the position of the show. Speaking of the early days of the "ZIGGY STARDUST TOUR", there were many member changes. First of all, let's organize the circumstances by the schedule.・January 29: Aylesbury performance {February 4: "Ziggy Stardust" completed}・February 10-July 15: UK #1 (50 performances) ←★Here★・August 19+20: 2 performances at the Rainbow Theatre・August 27-September 7: UK #2 (10 performances)・September 22-December 2: North America (29 performances)・December 23-29: UK #3 (4 performances) The "ZIGGY STARDUST TOUR" lasted from January 1972 to July 1973, but the above is an excerpt from the 1972 tour. During this period, the keyboards were replaced frequently, and the above schedule is organized according to Nicholas Pegg's famous book "THE COMPLETE DAVID BOWIE". "UK #1" was the first keyboardist: Nicky Graham, the two shows at the Rainbow Theatre in August were Matthew Fisher, "UK #2" was Robin Lumley, and from "North America" to the end of the 1973 tour was Mike Garson. The London performance of this work was the third to last concert of "UK #1" during the Nicky era. As mentioned above, such shows have been known for some time as audience recordings, but the basis of this work is different from the conventional version. It is a matrix album released by a core maniac overseas in recent years. Two types of recordings were used, one with a strong hiss noise, and the other with high sound quality but thin bass. This maniac carefully selected the best of the two recordings, carefully treated them, and synchronized them. The recording with thin bass got a thick and lustrous sound by the matrix, and the hiss noise was also removed at a level that did not affect the subtlety of the performance sound. Collectors around the world are amazed by the careful finish, and researchers are praising it, saying, "I've never heard such good sound." In this work, such a matrix sound source has been further polished by meticulous remastering. Of course, we did not try to taint the design sound by making sound pressure recklessly. We mitigated the momentary noise and noise that remained very slightly, and corrected the pitch that was about 30% faster than a semitone to just right. In addition, we supplemented the 15-second gap in the middle of "I Feel Free" with a different source. While paying the utmost respect to the design of the core mania, we applied the "final nail". The show, which was revived with the highest quality in history, is truly worthy of the name of legend. It seems that the media was invited only for the benefit show, and various reviews were rave reviews. Melody Maker magazine also enthusiastically reported on the day, and the headline "A STAR IS BORN! (It is also the title of this work)" says it all. It's not full of screams, but the performance is strong and meaty, and it takes control of the scene, but the heat in the performance is wonderful. It's not just Bowie fans who are gathered at the benefit, but you can witness a page of history that will overwhelm you with the birth of a new icon. And a historic collaboration with Lou Reed. At the end of the show, Bowie proudly introduces Lou, and they perform three songs from THE VELVET UNDERGROUND: "White Light White Heat", "Waiting For The Man", and "Sweet Jane". "White Light White Heat" and "Waiting For The Man" were regular songs on the tour, but "Sweet Jane" is a rare performance with almost no live recordings. As expected, Lou sings the main part, but there is also Bowie's... no, Ziggy's singing voice. You can enjoy this collaboration of the century with the highest quality ever. It was a historic night when the collaboration with Lou Reed was realized and the media in his native England, known for their harshness, took notice. This is a Matrix album that depicts the whole picture with the highest quality. This is a live album of the century that was completed by adding the "final touch" to a masterpiece created by the passion of core maniacs. This is a very special album in Ziggy's short but dazzling journey. Live at Royal Festival Hall, London, UK 8th July 1972 *UPGRADE (2 Source Mix) (77:57) 1. Kenny Everett Introduction 2. Ode To Joy 3. Hang On To Yourself 4. Ziggy Stardust 5. Life On Mars 6. The Supermen 7. Starman 8. Changes 9. Five Years 10. Space Oddity 11. Andy Warhol 12. Amsterdam 13. I Feel Free 14. Moonage Daydream 15. White Light White Heat * 16. Waiting For The Man * 17. Sweet Jane * 18. Suffragette City David Bowie - Vocals, Guitar, Harmonica Mick Ronson - Guitar, Vocals Trevor Bolder – Bass Woody Woodmansey - Drums Nicky Graham – Keyboards Lou Reed - Vocals / Guitar *
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