Wembley Empire Pool on September 8th is a very popular audience at the beginning of Europe 73, which everyone loves. Although it was recorded in mono, it has produced countless items so far because of its very easy-to-listen-to sound quality. That's why the appearance of a new best version suitable for the 2020s was awaited, and the long-awaited and undisputed definitive version is "WEMBLEY 1973 DAY 2 1ST SHOW", and its release is still fresh in my memory. The ease of listening, which was compiled by the careful overhaul of "GRAF ZEPPELIN" from the standard sound source, is enormous, and the popularity of the restocked items sold out in no time, reminded me once again that Wembley September 8th is strong! And we will release Wembley September 8th again, but this is not just a reissue of "WEMBLEY 1973 DAY 2 1ST SHOW". A completely different dimension of a new September 8th edition will be born this week! Up until now, the September 8th editions were basically based on versions circulating among traders, but this time, the original cassette was sent from the UK. The owner is London taper Mike B, who has released a series of masterpieces such as Clapton's "HAMMERSMITH ODEON 1974 1ST NIGHT: ORIGINAL AUDIENCE MASTER", Floyd's "BRIGHTON JUNE 1972 2ND NIGHT: MASTER TAPE", and Genesis's "HAMMERSMITH ODEON 1976 1ST NIGHT". However, the cassette he provided was a backup copy made before the master aged, and is essentially in the "1st gen" position. When this copy was made, there was a gap at the start of "Honky Tonk Women", which proved that this further branched out as it spread among traders. And what's surprising about it is the sound quality. Even the "WEMBLEY 1973 DAY 2 1ST SHOW", which seemed to have such wonderful sound quality, sounds frustratingly covered by a veil in front of the cassette provided by "Mike B". Its natural and clear sound quality has a good view that easily overwhelms previous releases. According to "Mike B", who performed the recording, he testified that he recorded this time from a position overlooking the stage from the right side of the Wembley Empire Pool, and it turned out that it was recorded from the balcony on the right side, not from the arena seats. Indeed, the appeal of this sound source is that it is not the closeness of the sound image like a "sound board", but rather that it captures the entire performance in a balanced way, and it reminds us of the recording state that is only possible in such a position. Also, due to the azimuth shift when creating the backup, from the beginning to "Honky Tonk Women" it is slightly left-leaning, and from then on it is slightly right-leaning, which can be felt slightly when listening with headphones, but rather, if this level of state is mono-fied, the freshness of the recording is lost, and it tends to sound dark, narrow, and downgraded. Therefore, for this CD release, we have decided to avoid such processing and record the original sound as it is. That is how overwhelming the upper feeling this time is. Above all, it is surprising that the release of the undisputed upper version provided by the recorder who kicks it away has been realized less than half a year after the appearance of the famous board "WEMBLEY 1973 DAY 2 1ST SHOW". It feels like it has been talked about so much already, and it has been loved by enthusiasts for many years for being "easy to listen to", but with the cassette provided by the recorder himself this time, it has finally reached the next level. The sound is overwhelmingly good despite being the same master as the previous one. The strongest and most important Stones title. This is a miracle The ending is about 4 seconds longer than the previous one. From the beginning to Honky Tonk Women, it is slightly left-leaning, and after that it is slightly right-leaning, but since it is a bad move to make it mono at this level, it is recorded as it is (no left-right balance sound pressure adjustment is also performed).
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