Ahead of the release of the Rolling Stones masterpiece ``STICKY FINGERS'', the 1970 European tour was notable for its aggressiveness in performing live performances of songs already recorded. It was a time when the Stones' unique loose and aggressive live sound was played, which was completely different from the 1969 American tour when the Stones returned to full-fledged live tours. From there, it is still fresh in our memory that last year, we released a new excavated sound source from the second show of the Milan performance on October 1st at "MILAN 1970 2ND SHOW", but this time we will release songs from the 1970 tour. , we will release an upper version of the performance and sound source for which items have already been produced. It is an audience recording that captured the Stuttgart performance on September 20th, ten days ago from Milan. Although it is a vintage live sound source from the 1970 tour, it is a rare live performance in that two types of sound sources have been discovered in the past 15 years. The original was "recorder 2", which was discovered later. As mentioned earlier, the "recorder 2" item already existed and was released as the DAC "GERMANY 1970". This time I got the first generation master of the same audience recording. This coincided with the release of the upper version where you can clearly feel the improvement in sound quality. The two types of Stuttgart performance sound sources that originally exist...both are in a rough recording state. There is no hope for the clarity like the Milan performance released last year. Still, "Recorder 2" has a much better sound quality than "Recorder 1", which was first released with the title VGP "EUROPEAN TOUR STUTTGART 1970", and among enthusiasts it is considered to be the best of the 1970 Euro Tours. It is counted as one of the sound sources. When you press the play button, what you hear is an old-fashioned sound quality that perfectly fits the word "vintage." It even looks like an antique. If you think about it, when it comes to audience recordings in 1970, this level of sound source is commonplace, and it was a time when we realized how “miracle” the existence of ultra audience recordings like the one in Oakland the previous year was. In that sense, the Stuttgart "Recorder 2" has an "average" recording quality for this era, but it is also a "miracle" that it was able to capture Mick's singing and other performances with such balance. I think it's okay to call them. Since this is the first generation master of this sound source, the roughness that was in "GERMANY 1970" has been diluted, giving you a good outlook as if it had been peeled off. Definitely improved listening experience! On the contrary, it even makes you feel the spread of stereo sound. (“GERMANY 1970” was completely monaural.) One of the points of this record is that the intro is 7 seconds longer than the previous release, and the outro is 25 seconds longer than the previous release. It also looks more natural. Audience recordings with such old-fashioned sound quality tend to become unnatural when equalized. After all, I think there are a lot of people who like this kind of texture that has a full analog taste. However, the biggest advantage of this release is that the entire live performance is recorded from a single source. When "GERMANY 1970" was released, only "Let It Rock" in the second half of the live performance was replaced with "recorder 1", but this time it seems to be in a low generation state, and the same song was recorded without any loss. There is. Although the adjustment in “GERMANY 1970” was spectacular, it is still undeniable that the rough recording state of “recorder 1” feels strange. For that reason, even just saying that even “Let It Rock” can be listened to as it is with “recorder 2” this time will attract attention from enthusiasts all over the world. Before starting "Let It Rock," Mick repeats "can you dig it?" twice, and on this day, Mick's upper tone, which can be said to be unique to 1970 Euros, is now easier to listen to. More realistically documented. Among maniacs, Mick's wildly shouting singing voice on this tour is deified in the same way as Mick Taylor's guitar play, which will reach its climax in the same way at Euro three years later. The hyper-shout that he heard on "STICKY FINGERS" is revived on stage as well... Mick at this time was truly in a class of his own. Of course, Mick's shout is exploding from "Sympathy For The Devil", and even when Taylor starts playing the interlude in the slow "Love In Vain", it's fun to feel the extra momentum of shouting. The Stones' performance is rock-solid, as if pulled by such Hyper Mick. “Live With Me”, which has a unique arrangement where Keith starts playing the intro, is absolutely the best! And there is an interesting scene in ``Roll Over Beethoven,'' which is unique to the 1970s. As soon as Keith started playing, he noticed that he was out of tune, but since Charlie's drums had already been added, the intro was stretched out (of course, Mick's singing was delayed), so you could clearly listen to the scene where he escaped the incident. That's what happens. Please reconfirm the many famous performances typical of the 70 year Euro tour with the upper version using the first generation master! Killesberg, Stuttgart, Germany 20th September 1970 (62:26) 1. Intro. 2. Jumping Jack Flash 3. Roll Over Beethoven 4. Sympathy For The Devil 5. Stray Cat Blues 6. Love In Vain 7. Dead Flowers 8. Midnight Rambler 9. Live With Me 10. Let It Rock 11. Little Queenie 12. Brown Sugar 13. Honky Tonk Women 14. Street Fighting Man
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