David Bowie / Hemel Hempstead 1972 / 1CD

David Bowie / Hemel Hempstead 1972 / 1CD / Wardour-279

Translated text:

Live at the Pavilion, Hemel Hempstead, UK 7th May 1972

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One man who is said to be “the most desired live album” from mania all over the world is a permanent preservation press decision. Engraved on that legendary live board is “Hemel Hempstead Performance May 7, 1972”. It is a superb audience recording that carved the early stages of “ZIGGY STARDUST TOUR”.
Before introducing the contents, first position. Let’s imagine how early this work is from the overview of the tour where the charisma of the sky swept the world.

· January 29: Warm-up
“February 4” Ziggy Stardust “completed”
· February 10 – July 15: British # 1 (50 performances) ← ★ Coco ★
· August 19th + 20th: Rainbow Theater (2 performances)
· August 27 – September 7: UK # 2 (10 performances)
· September 22 – December 2: North America (29 shows)
· December 23 – 29: UK # 3 (4 performances)

“ZIGGY STARDUST TOUR” continued from January 1972 until July 1973, but the above is only the 1972 year excerpt. The keyboard has been exchanged in detail at this time, and the above schedule is in line with that change. To tell the truth, among the researchers there are various theories on the timing of the keyboardist change. Therefore, until recently I introduced it by different classification, but this time it conformed to Nicolas · Peg’s masterpiece “THE COMPLETE DAVID BOWIE”. According to it, in the “UK # 1”, the first keyboardist: Nick Graham, August Rainbow Theater 2 shows Matthew Fischer (Matthew himself testified in a recent interview), “British # 2″ Robin Lamley and ” From North America “to Mike Gerson until the end of the tour in 1973. Hemel Hempstead’s performance of this work is a concert that is the 24th performance of Nick Era ‘British # 1’. Speaking of this period, the highest peak of traditional recording “KINGSTON 1972 (Wardour – 260)” reigns, but this work is also the live album of the next day.
As I mentioned at the beginning of this work, a legendary recording that mania all over the world did not stop as craving. Actually, among the core collectors, only the existence has been told but the whole picture has not been revealed for many years. This “whole picture” is a hindrance, it is not that I could not listen at all. Only one song of an audio file digested recording for a few minutes and “You Got To Have A Job” appeared. Not only a precious early in the early stages but also maniacs dazzled to a wonderful sound quality, the boil as “full length version exists!” And this work is its perfect record. Several versions have also appeared in recent years, but carefully selected the best master among them. It is the ultimate board polished by meticulous remaster.
That quality is exquisite vintage recording. Anyway, I can not believe that it was 1972. In this era it will be appreciated as much as you can listen to the kind of explosion or roar, but this work is not a story at hand. Directly a feeling that is surprising than anything. There is almost no audience / noise that obstructs Bowie’s singing voice and I can not feel the response of the venue. The sturdy core is sturdy, the detail that penetrates a clear air feeling is also wonderful and vivid. There is an audience-like reality in the tone, but I can not feel likeness of other items other than that. The neat side sound of the legendary board “KINGSTON 1972” was also amazing, so it is not easy to attach Aki, but this direct feeling is more powerful than this director overwhelmingly. It is almost like a vintage tape of radio broadcasting, probably most people will raise a prize to this work.
Even even a legendary name recording is a superb master, but this work further brushes up. Of course, we are not doing money that will pollute the glittering sound of vintage with sound pressure creation that is cruel. I focused on the balance of each range so that I can feel the direct feeling of the direct sound more clearly. It is vocal that can feel the effect especially. Although it is powerful from the original sound, the separation feeling is adjusted more vividly. As if as soon as there was a 25-year-old Bowie …… No, Jiggy was there, realizing the reality that he sang directly.
What is drawn with such sound is the world of the extremely early “ZIGGY STARDUST TOUR” that investigates preciousness. The set and the performance closely resemble “KINGSTON 1972” one day ago, and played a large number of “HUNKY DORY” numbers. Cover such as Jack Brell’s “Amsterdam” and CREAM’s “I Feel Free” and “Song For Bob Dylan”, you can enjoy the rare rare number unique to “British # 1”. The most precious is James Brown’s cover “I Gotta Get A Job”. Actually you can hear only the Kingston performance and this work. And the second album “Wild Eyed Boy From Freecloud” that I could not listen even at “KINGSTON 1972”. Although it was a song that was frequently played until the end of the tour, before the movie, it is about BBC session and you can listen to extreme stage performance. Of course, fresh playing unique to the very earliest other numbers is wonderful. “Moonage Daydream” which can contain as much passion as Bowie, Mick Ronson’s guitar solos and powerful “Waiting For The Man”, etc., such as the sequel to the performances that lowered the drinking pleasure of maniacs all over the world who were scurping with chopped sound sources. It is a live album that not only is “the most desired” but also far exceeding that expectation.

British tour of 1972 which was running running down the path to the ancient charisma “jiggy”. It is a live album that depicts “next” of Kingston performance which was once said to be “the oldest Bowie”. A famous recording that surprised the world with a sound that transcended mere preciousness far. Its highest peak record. Here is a dignified permanent preservation decision here.

世界中のマニアから「最も望まれたライヴアルバム」と言われた1枚が永久保存プレス決定です。その伝説的ライヴ盤に刻まれているのは「1972年5月7日ヘメル・ヘムステッド公演」。“ZIGGY STARDUST TOUR”の極初期を刻んだ極上オーディエンス録音です。


“ZIGGY STARDUST TOUR”は1972年1月から1973年7月まで続きましたが、上記はその1972年分だけを抜粋したもの。この時期はキーボードが細かく入れ替わっており、上記日程はその交代に沿っています。実のところ、研究家の間ではキーボーディスト交代のタイミングに諸説ある。そのため最近まで別の区分けでご紹介していましたが、今回からニコラス・ペグの名著『THE COMPLETE DAVID BOWIE』に準じました。それによると「英国#1」では初代キーボーディスト:ニック・グラハム、8月のレインボーシアター2公演はマシュー・フィッシャー(マシュー本人が近年のインタビューで証言)、「英国#2」はロビン・ラムリー、そして「北米」から1973年のツアー最後までがマイク・ガーソン。本作のヘメル・ヘムステッド公演は、ニック時代「英国#1」の24公演目にあたるコンサートです。この時期と言えば、伝統録音の最高峰盤『KINGSTON 1972(Wardour-260)』が君臨しておりますが、本作はその翌日のライヴアルバムでもあるのです。
そんな本作は冒頭に触れた通り、世界中のマニアが渇望して止まなかった伝説の録音。実は、コアなコレクター間では存在だけが語れていながら長年に渡って全貌が明らかになってこなかった。この“全貌”というのがくせ者でして、まったく聴けなかったわけではない。録音を数分間にダイジェストした音声ファイルや「You Got To Have A Job」の1曲だけが登場。貴重な極初期というだけでなく、素晴らしいサウンド・クオリティにマニアが色めき立ち、「全長版は存在する!」と沸騰していったのです。そして、本作こそがその完全盤。近年になって何種かのバージョンも登場しておりますが、その中でもベスト・マスターを厳選。さらに細心リマスターで磨き上げた究極盤なのです。
そのクオリティは、まさに絶品のヴィンテージ録音。とにかく1972年というのが信じられない。この時代であれば爆音・轟音の類でも聴けるだけありがたいとなるところですが、本作はそれどころの話ではない。何よりも驚異的なのはダイレクト感。ボウイの歌声を遮るオーディエンス・ノイズがほとんどなく、会場の反響も感じられない。逞しい芯はどこまでも逞しく、クリアな空気感を貫くディテールも素晴らしく鮮やか。音色にオーディエンスっぽいリアリティが宿ってはいるのですが、それ以外に客録らしさが感じられないのです。伝説盤『KINGSTON 1972』の端正サウンドも驚異的でしたので簡単に甲乙は付けられませんが、このダイレクト感は圧倒的に本作の方が力強い。ほとんどラジオ放送のヴィンテージ・テープのようでもあり、恐らくほとんどの方が本作に軍配を挙げることでしょう。
そんなサウンドで描かれるのは、貴重を究める極初期“ZIGGY STARDUST TOUR”の世界。セットやパフォーマンスは1日前の『KINGSTON 1972』に酷似しており、『HUNKY DORY』のナンバーも大量に演奏。ジャック・ブレルの「Amsterdam」やCREAMの「I Feel Free」といったカバーや「Song For Bob Dylan」など、「英国#1」ならではの激レアナンバーが楽しめる。最も貴重なのはジェイムズ・ブラウンのカバー「I Gotta Get A Job」。実際に耳にできる記録はキングストン公演と本作しかありません。そして『KINGSTON 1972』でも聴けなかったのがセカンド・アルバムの「Wild Eyed Boy From Freecloud」。ツアー終盤まで度々演奏された曲ですが、本作以前はBBCセッションくらいであり、極初期のステージ・パフォーマンスを聴けるのです。もちろん、他のナンバーも極初期ならではのフレッシュな演奏が素晴らしい。ボウイがあらん限りの情熱を込める「Moonage Daydream」、ミック・ロンソンのギターソロもパワフルな「Waiting For The Man」等々、細切れ音源で悶々としていた世界中のマニアの溜飲を下げた熱演の連続。「最も望まれた」だけでなく、その期待を遙かに上回ってしまうライヴアルバムなのです。



1. Hang On To Yourself 2. Ziggy Stardust 3. The Supermen 4. Queen Bitch
5. Song For Bob Dylan 6. Changes 7. Starman 8. Five Years 9. Space Oddity
10. Andy Warhol 11. Amsterdam 12. I Feel Free 13. Wild Eyed Boy From Freecloud
14. Moonage Daydream 15. White Light, White Heat
16. You Got To Have A Job (If You Don’t Work – You Can’t Eat)
17. Suffragette City 18. Waiting For The Man

David Bowie – vocals, guitar, harmonica Mick Ronson – guitar, vocals
Trevor Bolder – bass Mick “Woody” Woodmansey – drums Nicky Graham – keyboards


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