The only soundboard sound source of the 1967 European tour, a standard sound source that records the Paris and Olympia performances in high quality.The original is an LP recorded from the rebroadcast that was aired on AM broadcast in France on May 31, 1982. FUCKIN' AND SUCKIN' (RS-TAP-010). The LP, released in 1983, was recorded in omnibus format with the take at Olympia in 1965, and although it was not a complete version, it became a popular item traded at a high price among enthusiasts. Later, in the CD era, titles that were completely recorded from the first broadcast in 1967 were released, and in the mid-1990s, excerpts of past Olympia performances were rebroadcast in high quality on FM broadcasts, such as ``STILL I'M GONNA''. It created the popular title "MISS YOU" (VGP). In 2004, the fan-made download title ``MUSICORAMA MIXDOWN'' was released, and ``PARIS MATCH'' (DAC), which was taken from there, was considered the best sound source, but in this release, it is a digital version of FM broadcast. The air check has been further refined, and two songs that were cut in the high-quality rebroadcast have been patched together from the first broadcast in 1967. At first listen, it may sound like the same edit as "PARIS MATCH," but in reality, each song has been adjusted and recompiled into the original broadcast form. The high range, which was a little too strong in the previous release, is transferred flat without boosting, and the tape speed, which was a little fast, is also recorded as the original. In "MUSICORAMA MIXDOWN", even though it is a rebroadcast, "UNDER MY THUMB", which was recorded on cassette and whose sound quality was slightly lower than other parts, has been re-recorded from a digital source, so almost the entire live performance is flat and evenly high quality. You can enjoy it. Also, it seems that the narration part of the station break after the end of "RUBY TUESDAY" appears for the first time. Audience tapes from other performance locations have confirmed that the opening song of the 1967 tour started with "THE LAST TIME," but Radio Europe 1 has aired all songs from each Olympia performance in the main broadcast. From this, it can be inferred that this April 11th performance was conscious of recording and removed “THE LAST TIME” and started with “PAINT IT BLACK”. Instead, they probably played “UNDER MY THUMB”, which was not performed at other performances before “RUBY TUESDAY”. On this day, there were two performances, day and night, and according to experts, this performance was the night performance, and it seems that "SHE SMILED SWEETLY" was played in place of "UNDER MY THUMB" in the daytime performance. is. In addition, the sound source of this performance has been released on iTunes as "'67 Sessions" reproduced from "MUSICORAMA MIXDOWN", but as expected, there is no improvement over the previous version, and other additional tracks are also tracks from the Ed Sullivan Show. Audio from the DVD, a copy from the MIDNIGHT label's "SATANIC SESSIONS" box, and a genuine take of "SHE'S A RAINBOW" taken from YOUTUBE Channel Pirate on BBC's "TOP" It was a very tough recording process, including live takes from ``Of the Pops'' and recording with mistaken credits. This album includes 15 additional tracks from the '66 UK tour, '66 Olympia, and '66 UK TV appearances. The '66 UK tour is the so-called "GOT LIVE ~" sound source, but it is a special version that corrects the missing head of "UNDER MY THUMB" and the cut of "THE LAST TIME". Two simulated live songs and the sound of the 1965 UK tour have been cut to recreate a valuable set of 1966 UK sound sources. “PAINT IT BLACK” was played as the opening number on this tour, but it was cut on the record and started with “UNDER MY THUMB”. The performance key, which was Fm on the record, was raised to Dm, and the impression was slightly different from the record version, which may be the reason why it was not recorded. At the first drum beat of the intro to "UNDER MY THUMB", you can faintly hear Bill's bass D at the ending of "PAINT IT BLACK". All of Mick's vocals in this sound source have been re-recorded in the studio, so it is difficult to say that it is a pure live performance, but the punkish performance is full of charm. In the CD era, the sound source was revised, the vocals of "UNDER MY THUMB" were changed to a different version, Mick's hand clapping was cut where possible for "GET OFF OF MY CLOUD", and "LADY JANE" ”, there were many variations in small details, such as changing Keith's acoustic guitar without overdubs. Also, the remastered CD audio is often said to be monaural, but in reality, the performance is panned slightly to the right, the vocals to the left, and the cheers are added and mixed with a new overdub. “SATISFACTION” is a complete version that does not fade out that appeared when “CHARLIE IS MY DARLING” was released on Blu-ray, but the ending part was added from takes from other performances. This part also had a higher sound pressure than the previous one, making it a more powerful sound. The 4 tracks of '66 Olympia are still recorded from the digital master audio, and are greatly upgraded from those recorded in "STILL I'M GONNA MISS YOU" at accurate speed. The last two tracks are the sound source from "EAMONN ANDREWS SHOW" that appeared on February 6, 1966, and although the sound quality is inferior to other tracks, it is a valuable sound source that appeared for the first time in Japan. It's a little hard to hear because it's recorded over the TV speakers, but the latest single at the time, "19th NERVOUS BREAKDOWN", is sung live using the record's backing track. In the talk part, Mick is grilled by the host about the song's lyrics, which is hilarious. In addition to the precious last tour sound source when Brian Jones was with us, this is a great value album that collects 24 tracks of high-quality remastered sound of high-quality performances from the same period. This is a must-have item that will make you cry as a freak, as it contains plenty of the best stages that are so powerful and punkish that even the performers can no longer control them.
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