David Bowie / The Final Night At Hammersmith 2002 / 4CD

David Bowie / The Final Night At Hammersmith 2002 / 4CD / Wardour

Translated Text:
Carling Apollo, Hammersmith, London, UK 2nd October 2002 &BBC Maida Vale Studio 3, London, UK 18th September 2002. STEREO SBD


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In Bowie’s life it was a special night “Ziggy re-birth”. The best live album and a 4 Disc that coupling the sound board of the BBC it appeared.
First of all, the main “Ziggy re-birth”. It became the the scene of the “October 2, 2002 Carling Apollo”. “Carling Apollo” is, formerly known as “Hammersmith Odeon” of thing. In other words, do the “Ziggy sealed Declaration” in 1973, it is a venue that is also the site of the movie “ZIGGY STARDUST AND THE SPIDERS FROM MARS.” This work is the audience album chopped the Bowie of the show came back through time from the sealed declaration about 30 years.
If you had you read up to this point, masterpiece “HAMMERSMITH APOLLO 2002: BOWIE’S LONGEST EVER CONCERT (Uxbridge 552)” might be reminded. So,’s the same show with that masterpiece. However, this work is not a remastered in its recurrence. It entirely complete another recording by another taper. And its taper, the recording home of United Kingdom residents. Until now, the better we will deliver the UK performances of various artists, familiar as “always masters”. Already we introduce several times, but this maestro is also a large Bowie fan. Soredakeni, “Bowie is coming! Back to Hammersmith” without also going to miss the memorial concert that had been firmly record. This work, entrusted to us the original master from such masters, carefully that turned into CD. Was collected rave reviews,’s the one sound more than that “BOWIE’S LONGEST EVER CONCERT”.
Before talking about the sound, and I should tell you what this concert was how special things. It will be to repeat to those who know the “BOWIE’S LONGEST EVER CONCERT”, thank you to skip lightly. To begin with, the Bowie stood on the stage of Hammersmith, alone with a lifetime four times. Let’s look back at the four times.

– 1973 July 2 – 3 days: Ziggy sealed declaration
– 1983 June 30, 2011: Charity Show
– October 2, 2002 [this work]

After such a “Ziggy sealed declaration”, is twice the Bowie has returned to the Hammersmith. Open the declaration of the 10 years after charity concert in “SERIOUS MOONLIGHT TOUR”, it became the “Ziggy re-birth” of this work after the 19 years. Through Bowie of life, it remained in Hammersmith is always “special”. Of course, the end of Hammersmith, which is contained in this work, the contents also special. His own, “a special place” in or feeling was also strong towards, became a lengthy concert to see even the entire career rare. Ultra-expanded version that also extends to the number of songs barrel and total 33 songs, about 3 hours. 2002 is now fully reproduce live also the topic of the album “LOW” and new at the time, “HEATHEN”, but this day is not precisely reproduced, about half (11 tracks in 5 songs) of “LOW”, ” the majority of HEATHEN “(all 12 songs in 9 songs) also shows off. In this work, the main part of the long concert to disk 1 and 2, was placed an encore to the disk 3.
Zekkocho the first time to support such a length is also great. Spirit of service is fully open before the birthplace London fans. While the singing voice is anyway gusto, relax. Moreover, deep it is also 29 New Year’s Eve of deep emotion. Especially symbolic of the encore of up to 12 songs to fill this work disk 3 whole. Will begin to calm in the “Sunday”, “I Would Be Your Slave” of the “HEATHEN”, but immediately after the MC is what, the highlight of this work. Do in “but this is the last show too. But this is the last show we’ll ever do on the day of a fucking tube strike! (Today” is also “the end of the show is. Damn railway strike day and its words Nante the sounds show!) “thing. This MC is “not only is it the last show of the tour of 29 years ago, the legendary” Ziggy sealed declaration “, but it’s the last show that we’ll ever do. (Not just tour last show today, we’re’m also at the end of the show), “I joke that was hooked on.
And, Bowie laugh the declaration of the legend, sing I slowly the “Moonage Daydream”. Of course, Mick Ronson is not here, the same as much as, say, may not guitar solo resounds be any more. Changes to further “Starman,” “Changes,” where I thought …… out singing, then, to play the “Starman” of what this time. I come blowing from the speakers exactly become a “Back to 1973” air is ferocious wind. Then, the climax in two barrage of refrain in large Las “Let’s Dance,” “Ziggy Stardust”. About 3 hours it has also become stricter Bowie’s voice in marathon over, but even willing unexpected passion, the real thrill what hot air, such as shake off the fatigue of this work. Crowd also greet the finale that or not is you’re singing not remain one. Although I touched only the encore, the concert continues seamlessly over it only of the service spirit and passion for three hours. Even if the bird’s eye view of the Bowie of life, I large-great performance in no two great performance.
Night of it only miracle, I think enough to know if the person who was to listen to the “BOWIE’S LONGEST EVER CONCERT”. However, the sound of this work is far beyond also that masterpiece. Maestro himself that was recorded this work had said “It’s my masterpiece”, but not a lie lie to his words. It “BOWIE’S LONGEST EVER CONCERT” also was not the difference in the sound great, but compared to become the clear of is uneven. Although the tone of the venue reverberation, such as the sound board is in that album had wrapped gently, this film shines the reverberation is quick and sunny, and sparkling like a crystal glass. But it is “like a sound board” is easy to call it, than were such easy terms, there is no excuse in this glossy and beautiful musical sound. “Like official” …… Again, not yet enough. Many times the impressive performance also to shine, sound like magic. Night that Bowie had been miracles in the stage, a miracle had occurred also in the audience. On this day, the lock of the goddess, I recording of the goddess was smiling all together.
It was longer, but this work is not just it. Furthermore disc 4 is a sound board that contains the BBC studio live in the same period. Recorded for is the “September 18, BBC Maida Vale Studio 3,” but, broadcasting the “October 5”. Hammersmith of disk 1-3 is three days later. In other words, Londoner at that time, taste the excitement of the night like a miracle, it broadcast I listened to when you are immersed in the afterglow. Although disk 1-3 that becomes the main part was the best masterpiece sound of the masters that the UK is proud of, this is just the official class. It is about the perfect line recording can be directly official release.
The finest live of the contents to be drawn by the sound is also fiercely, in addition to the number of the latest work “HEATHEN” at the time, rare Classics is jostling. A revival since 1978, “Alabama Song”, Bowie himself had thought, “You can not be longer sing,” “Rebel Rebel,” Remarkable is the 1971 “The Bewlay Brothers”. What, in the premiere this day beyond the time of 31 years, is the first time the moment a spotlight literally of “hidden masterpieces”.

Beyond the 29 years of time, “Ziggy re-birth” By now, the Hammersmith night. And, studio live that face ahead of the Hammersmith. Not just a commemoration, not just simply a long. Overflowing the feelings and passion to the songs in a man filled with emotion is the coupling of performance. Hammersmith air like magic and broadcasting that has flowed to London before the magic can be solved,. Live album that will deliver both from the speakers. This shine, was confined to the press CD and want to leave forever. Please, please you also witnessed this miracle.

まずは、メインとなる“ジギー再降誕”。その現場となったのは「2002年10月2日カーリングアポロ」。“カーリング・アポロ”とは、旧称“ハマースミス・オデオン”のこと。つまり、1973年に「ジギー封印宣言」を行い、映画『ZIGGY STARDUST AND THE SPIDERS FROM MARS』の現場にもなった会場です。本作は、その封印宣言から約30年の時を経て戻ってきたボウイのショウを刻んだオーディエンス・アルバムです。
ここまでお読みいただいた方は、名作『HAMMERSMITH APOLLO 2002: BOWIE’S LONGEST EVER CONCERT(Uxbridge 552)』を思い出されるかも知れません。そう、あの傑作と同じショウなのです。しかし、本作はその再発でもリマスター盤でもありません。まったく別のテーパーによる完全な別録音なのです。そのテーパーとは、イギリス在住の録音家。現在に至るまで、さまざまなアーティストのイギリス公演を届けてくださる方で、“いつもの巨匠”としてお馴染み。すでに何度かご紹介していますが、この巨匠は大のボウイ・ファンでもある。それだけに、“ボウイがハマースミスに戻ってくる!”という記念碑コンサートを見逃すはずもなく、しっかりと記録されていた。本作は、そんな巨匠からオリジナル・マスターをお預かりし、ていねいにCD化したもの。絶賛を集めた、あの『BOWIE’S LONGEST EVER CONCERT』を超えるサウンドの1本なのです。
そのサウンドを語る前に、このコンサートがいかに特別なものだったのかをお話しせねばなりません。『BOWIE’S LONGEST EVER CONCERT』をご存じの方には繰り返しになりますので、軽く読み飛ばしをお願いします。そもそも、ボウイがハマースミスの舞台に立ったのは、生涯4回きり。その4回を振り返ってみましょう。

・2002年10月2日 【本作】

このように「ジギー封印宣言」の後、ボウイがハマースミスに戻ったのは2度。宣言の10年後となる“SERIOUS MOONLIGHT TOUR”でチャリティ・コンサートを開き、その19年後に本作の“ジギー再降誕”となった。ボウイの人生を通して、ハマースミスは常に“特別”であり続けたのです。もちろん、本作に収められた最後のハマースミスは、内容も特別。彼自身、“特別な場所”に向けての気持ちも強かったのか、キャリア全体でも希に見る長大なコンサートになった。その曲数たるやトータル33曲・約3時間にも及ぶ超・拡大版。2002年はアルバム『LOW』や当時の新作『HEATHEN』の完全再現ライヴも話題になりましたが、この日は再現こそしないものの、「LOW」の約半分(全11曲中5曲)、「HEATHEN」の大半(全12曲中9曲)も披露しています。本作では、その長大コンサートの本編をディスク1・2に、アンコールをディスク3に配しました。
そんな長さを支える絶好調ぶりも素晴らしい。生まれ故郷ロンドンのファンを前にサービス精神が全開。その歌声はとにかく楽しげでありながら、リラックス。その上、29年越しの感慨も深いのです。特に象徴的なのは、本作ディスク3を丸ごと埋め尽くす12曲に及ぶアンコール。『HEATHEN』の「Sunday」「I Would Be Your Slave」で穏やかに始まりますが、その直後のMCこそが、本作のハイライト。その言葉とは「but this is the last show too. but this is the last show we’ll ever do on the day of a fucking tube strike!(今日“も”最後のショウさ。いまいましい鉄道ストの日にやるショウなんてのはね!)」というもの。このMCは29年前の伝説「ジギー封印宣言」の「not only is it the last show of the tour, but it’s the last show that we’ll ever do.(今日はツアー最後のショウなだけじゃなく、俺たち最後のショウでもあるんだ)」に引っかけたジョークなのです。
そして、伝説の宣言を笑い飛ばすボウイは、おもむろに「Moonage Daydream」を歌い出す。もちろん、ミック・ロンソンはここにいませんが、それと同じくらい、いえ、それ以上かも知れないギターソロが鳴り響く。さらに「Starman」を歌い出し……と思ったところで「Changes」に変わり、その後、今度こその「Starman」を演奏する。まさに“Back to 1973”な空気が猛烈な風となってスピーカーから吹き出してくるのです。その後、大ラスに控える「Let’s Dance」「Ziggy Stardust」の2連発でクライマックス。約3時間にわたる長丁場にボウイの声も厳しくなってきていますが、それさえも厭わぬ情熱、疲れを振り切るような熱気こそが本作の醍醐味。観衆も1人残らず歌っているのではないかという大団円を迎えるのです。アンコールだけを触れましたが、このコンサートはそれだけのサービス精神と情熱が3時間にわたって途切れなく続く。ボウイの人生を俯瞰しても、2つとない名演中の大名演なのです。
それだけの奇跡の夜、『BOWIE’S LONGEST EVER CONCERT』をお聴きになった方なら十分にご存じと思います。しかし、本作のサウンドはあの傑作をも遙かに超えている。本作を録音した巨匠自身が「私の最高傑作だよ」と語っていましたが、その言葉にウソ偽りはない。『BOWIE’S LONGEST EVER CONCERT』も素晴らしいサウンドには違いなかったのですが、比べてしまうとクリアさが段違い。あのアルバムではサウンドボードのような楽音を会場残響が優しく包んでいましたが、本作はその残響がサッと晴れ、クリスタル・ガラスのようにキラキラと輝いている。「まるでサウンドボード」と呼ぶのは簡単ですが、そんな安易に表現したのでは、この艶やかで美しい楽音に申し訳がない。「まるでオフィシャル」……やはり、まだ足りない。感動的な演奏を何倍も輝かせる、魔法のようなサウンド。ボウイがステージで奇跡を起こしていた夜、客席でも奇跡が起きていた。この日、ロックの女神、録音の女神が揃って微笑んでいたのです。
長くなりましたが、本作はそれだけではありません。さらにディスク4は、同じ時期のBBCスタジオライヴを収めたサウンド・ボードです。録音されたのは「9月18日BBC Maida Vale Studio 3」ですが、放送は「10月5日」。ディスク1-3のハマースミスの3日後です。つまり、当時のロンドンっ子は、奇跡のような感動の夜を味わい、その余韻に浸っている時に聴いた放送なのです。本編となるディスク1-3は英国が誇る巨匠の最高傑作サウンドでしたが、こちらはまさしくオフィシャル級。そのまま公式リリースできるほど完璧なライン録音です。
その最高級サウンドで描かれるライヴの中身がまた凄まじく、当時の最新作『HEATHEN』のナンバーに加え、珍しいクラシックスが目白押し。1978年以来の復活となる「Alabama Song」、ボウイ本人が「もう歌うことはない」と思っていた「Rebel Rebel」、極めつけは1971年の「The Bewlay Brothers」。なんと、この日が31年の時を超えた初演で、文字通りの“隠れた名曲”に初めてスポットライトが当たった瞬間なのです。


Live at Carling Apollo, Hammersmith, London, UK 2nd October 2002

Disc 1 (45:40)
1. Introduction by Mark Radcliffe & Mark Riley 2. Life On Mars 3. Ashes to Ashes
4. Look Back In Anger 5. Survive 6. Breaking Glass 7. Cactus 8. China Girl
9. Slip Away 10. Absolute Beginners 11. Band Introductions

Disc 2 (55:13)
1. Alabama Song 2. Speed of Life 3. Be My Wife 4. Fame 5. I’m Afraid of Americans
6. 5.15 The Angels Have Come 7. I’ve Been Waiting For You 8. Afraid 9. Fashion
10. Rebel Rebel 11. Heroes 12. Heathen (The Rays)

Disc 3 (66:01)
1. Audience 2. Sunday 3. I Will Be Your Slave 4. Moonage Daydream 5. Changes 6. Starman
7. New Career In a New Town 8. Everyone Says Hi 9. The Bewlay Brothers 10. Sound and Vision
11. Hallo Spaceboy 12. Let’s Dance 13. Ziggy Stardust

Disc 4(56:53)

BBC Maida Vale Studio 3, London, UK 18th September 2002
Broadcast: BBC Radio 2 on 5th October 2002
FM Broadcast

1. Introduction by Jonathan Ross 2. Sunday 3. Look Back In Anger 4. Cactus 5. Survive
6. 5:15 The Angels Have Gone 7. Alabama Song 8. MC 9. Everyone Says ‘Hi’
10. Rebel Rebel 11. MC 12. The Bewlay Brothers 13. MC 14. Heathen (The Rays)

David Bowie – vocals, guitar, saxophone, harmonica, stylophone Earl Slick – guitar
Gerry Leonard – guitar Mark Plati – rhythm guitar, bass guitar, keyboards, backing vocals
Gail Ann Dorsey – bass guitar, backing vocals
Sterling Campbell – drums Mike Garson – keyboards
Catherine Russell – keyboards, percussion, backing vocals
Wardour 190

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