Rolling Stones/NY,USA 11.27.1969 & more
Rolling Stones/NY,USA 11.27.1969 & more
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Following the previous release of 1969 Boston, this time also includes a coupling recording of rare sound sources from the 1969 US tour. DISC1 is the well-known content from the New York MSG performance on November 27th, but this time's sound source is the high-quality AUD sound source famous for "BROADWAY" and the monaural SB released on CD in VOL.3 of the 1969 series. This is the first CD of matrix source with sound source. The SB sound source has a low volume of noise and microphones on the audience side, giving a balance that lacks a sense of realism, while the "BROADWAY" sound source picks up a lot of the performance from the PA, but it is a good recording that clearly captures the reactions of the audience. . By synchronizing and mixing these two sources, a new sound space never experienced before is created. Although it is not an SB sound source where two guitars are neatly separated into left and right, the person who created the stereo version of that 1969 Liver has remastered both sources and put together the latest version. A product that shines with synchronization technology and good taste in remastering. The film shooting on the first day of MSG69 and the tension of the band during the live recording are faithfully reproduced with the highest sound quality ever. There are parts of I'm Free where the synchronization is momentarily out of sync and Taylor's phrases sound like twin leads, but that's a charm. DISC 2 also includes a stereo remix of the free concert held at London's Hyde Park in July before the 1969 winter US tour. Perhaps following the previous year's BBC Rock'n'Roll Circus (the music part was recorded on three tracks by engineer Glyn Johns), it was multi-tracked by an eight-track mobile recording unit. Decca Records, which they belonged to at the time, did not have such a recording relay vehicle system, so a mobile unit from Decca's rival Pi Records was used. This Hyde Park performance in which Mick Taylor participated for the first time was recorded on film, and the footage was aired on Granada TV in the UK at the time, and is content that has been made into video software and released on DVD many times. At the time of the latest Blu-ray release, this 8-track multi-tape, which had been sitting in a warehouse for many years, was remixed in stereo for the first time and used for the soundtrack, but it was produced by telecining a PAL film in NTSC format. Due to a mistake, the mastering was done at a speed about half a step slower than the actual performance, which was pointed out by someone who had seen the trailer beforehand, and instead of redoing the telecine at the correct speed, the audio part of the finished master was re-mastered. A restored version was released by raising the song a half step to alleviate the discomfort, but it was released in a strange state where the pitch was correct but the tempo was a half step slower, and these deficiencies were later corrected. It was never done. In this work, Hyde Park's stereo remix sound source, which followed such an unfortunate path (lol), is recorded for the first time in the exact pitch and tempo of the actual performance. The second half of DISC 2 also collects valuable sound sources from the time of the appearance on the valuable BBC TV program “TOP OF THE POPS”. Similar to radio performance records, there are many videos on BBC-TV that were not archived and discarded after being aired, and the two songs from the last performance in 1971 (air check source, but much improved from the previous ones) In the 1967 appearance, RUBY TUESDAY, which was recorded on the same day as Tk-11, was also deleted. There are many takes where the sound source itself appears for the first time and interactions with the host, so it can be said that it is an excellent material. If you listen closely to the four takes of "HONKY TONK WOMEN," you'll find that the vocals were taken differently, and the length of the orchestra was different, giving you the key to understanding how much effort was put into promoting this song. . This work can be said to be a culmination of high-quality sound performances representative of 1969 and TV archive sound sources from the years before and after.