Introducing a masterpiece that recorded the reproduction live of the masterpiece "LOW" on the finest sound board. The masterpiece was reproduced on stage at “HEATHEN TOUR 2002”. ``HEATHEN'', in which he teamed up with Tony Visconti for the first time in 22 years, gave us music reminiscent of even his Berlin days, and this also spilled over onto the stage. “LOW” reproduction was realized. Such a reproduction performance of “LOW” was not performed at all performances, but only at a limited number of shows in the early stages of the tour. Let's list it... ・June 11, 2002 New York “HEATHEN IN NEW YORK” ・June 29, 2002 London “HEATHEN IN LONDON” ・July 12, 2002 Cologne (Germany) ・July 18, 2002 Montreux (Switzerland) This work】・September 22, 2002 Berlin (Germany) The above 5 times have been confirmed. We have introduced audience recordings of the tour warm-up performances "June 11th New York" and "June 29th London", but this work "July 18th 2002 Montreux performance" is a stereo soundboard recording. That's it. Of course, even if you say "sound board" in one word, it's not accurate. In particular, since the quality of the previous “HEATHEN IN NEW YORK” and “HEATHEN IN LONDON” was really wonderful, it would have been useless if it was a poor line recording. However, this work is one of the best among “soundboards”. It is a top quality item that can be officially released. As a matter of fact, this recording itself has already appeared, but this work is a master carefully selected by a world-renowned master of Bowie research. The research is amazing, and even if the sound source is considered to be a standard, the sound of a master that matches that particular instrument is completely different. His solid knowledge and selective eye have been proven in masterpiece soundboard titles such as “HAMMERSMITH ODEON 1973”, “ROTTERDAM 1976 (Wardour-186)” and “GLASTONSTONBURY FESTIVAL 2000”. This work was also praised by the researcher as “this is it!”, but this time he also received mastering supervision. Even though it is the best master that has been carefully selected, when listening carefully, the bass was a little thin and there were differences in sound pressure between parts. The researchers were aware of this and provided detailed guidance. The resulting sound of this work is perfect. There is no point in piling up four or five detailed words, and we have achieved a dignified finish that stands out with the three words "official grade". The reproduction performance of the masterpiece drawn with that sound is the perfect version of the “stage version of LOW”. At the premiere of "HEATHEN IN NEW YORK," the songs were played in the order of the album from the beginning of the show, but as they were repeated, they gradually changed, probably because they thought it was not suitable for a concert. In this work, a full set + encore is performed in a regular concert format, and the second encore is a reproduction of the album. The content has also changed, dismantling the original album B-side and placing "Warszawa" at the beginning and "Art Decade" in the middle of A-side. Furthermore, "Weeping Wall" is omitted. As a fan who has listened to the album completely, I think, ``I'm going to go to great lengths, so it's just like the album...'', but when I actually listened to it, this evolution was very correct. The majestic masterpiece "Warszawa" is suitable for the opening, and the flow is so natural that it doesn't break up into AB sides in the middle, making you wonder, "Isn't this how it was originally supposed to be?" As per the album, the performance ends with the fantastical "Subterraneans," and the album concludes with words reminiscent of Claude Nobbs, the founder of the Montreux Jazz Festival. This is a masterpiece among masterpieces that has been refined into the ultimate form of the best master of "LOW" live discovered by a world-renowned Bowie researcher. A one-of-a-kind super masterpiece live album where you can enjoy the true value of the masterpiece "LOW", which was released from an analog composition of about 20 minutes per side, on an official sound board. Please enjoy this historical piece to the fullest. Montreux Jazz Festival, Auditorium Stravinski, Montreux, Switzerland 18th July 2002 STEREO SBD Disc 1 (78:53) 01. Sunday 02. Life on Mars? 03. Ashes to Ashes 04. Cactus 05. Slip Away 06. China Girl 07. Starman 08. I Would Be Your Slave 09. I've Been Waiting for You 10. Member Introductions 11. Stay 12. Changes 13. Fashion 14. Fame 15. I'm Afraid of Americans 16. 5:15 The Angels Have Gone Disc 2 (78:35) 01. "Heroes" 02. Heathen (The Rays) Encore 03. Everyone Says 'Hi' 04. Hallo Spaceboy 05. Let's Dance 06. Ziggy Stardust Encore 2 Low 07. Warszawa 08. Speed of Life 09 Breaking Glass 10. What in the World 11. Sound and Vision 12. Art Decade 13. Always Crashing in the Same Car 14. Be My Wife 15. A New Career in a New Town 16. Subterraneans 17. "Thank You Claude" STEREO SOUNDBOARD RECORDING David Bowie - vocals, guitar, saxophone, harmonica Earl Slick – guitar Gerry Leonard - guitar, backing vocals Mark Plati - guitar, backing vocals Gail Ann Dorsey - bass, backing vocals Sterling Campbell – drums Mike Garson – keyboards Catherine Russell - keyboards, percussion, backing vocals
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