David Bowie / Kingston 1972 / 1CD

David Bowie / Kingston 1972 / 1CD/ Wardour

Translated Text:
Live at Kingston Polytechnic, Kingston, Surrey, UK 6th May 1972

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“ZIGGY STARDUST TOUR” From the very beginning, Nozomi New excavation master appears. It is contained in this work “Kingston Performance May 6, 1972”. Record has been known for a long time, it is a legendary show once said “Bowie’s oldest audience recording”. However, this work is not such a copy or re – master reappearance. Recently discovered Rouregen Master. It is a valuable live album that you can experience “Bowie transforming into Ziggy” with completely different sound from every previous episode.
That sound is the key, but how early does this work before that sound? Let’s confirm it from the tour summary in 1972.

· January 29 – March 24: British # 1 (18 performances)
· April 20 – May 27: British # 2 (15 shows) ← ★ Coco ★
· June 2 – July 15: British # 3 (18 performances)
· August 19 – September 7: UK # 4 (12 performances)
· September 22 – December 2: North America (26 performances)
· December 23 – 29: UK # 5 (4 shows)

This is the legendary tour “ZIGGY STARDUST TOUR 1972 – 1973”, which took out “1972 years” only. We have classified the UK tour finely, but this is in line with member changes. “1973” will be a large household, “1972” is a simple composition of “basic 4 people + keyboard”. However, even in that “1972”, the keyboard player changed in detail. In “British # 1”, four people are absent from keyboard, “British # 2” is the first Matthew Fisher, “British # 3” is Robin Lamley, “British # 4” is Nicky Graham, and “North America” Until the end of the tour in 1973 was Mike Gerson.
Among them, the Kingston performance of this work is a concert that is the sixth performance of “British # 2” (the 24th performances of the whole). In our shop, we have a masterpiece press album such as “LIVE SANTA MONICA ’72: UK ADVANCE / PROMOTIONAL CD” from “1972”, “BOSTON 1972 (Wardour – 225)”, “CLEVELAND 1972 1ST NIGHT (Wardour – 218)” I have delivered them, but they are all “North America”. I think that you can understand how this work is early.
Such Kingston performance was once known as “ZIGGY STARDUST TOUR extremely early sole record”, but this work will update its highest peak. Until now, Trial label “ZIGGY AT KINGSTON” was on the throne, but this work sounds good not to compare. There is no disturbance of the intro which was destiny so far, but it is only evidence of new excavation. The key is the sound that goes through the whole. Even “ZIGGY AT KINGSTON” was a masterpiece that was said to have been said from a professional magazine “Amazing high sound quality”, “Sound quality improvement that is not comparable with the previous episode”, “Pretty much from the sound source close to the master” Although this work is far younger genera, the freshness of the performance and singing voice is completely different.
Actually, maniacs around the world are noisy for this excavation. It is in the midst of a hot topic right now, but this work furthermore implements latest and meticulous mastering. Adjusting the balance of the whole, complementing the small tone that was small. It has become clearer and three-dimensional sound.
And, in the extremely early “ZIGGY STARDUST TOUR” that was revived with such a new excavation sound, it is wonderful. Although the number of “HUNKY DORY” is played in large quantities only in the early days, that is not the only one. Also covers such as Jack Brell’s “Amsterdam” and CREAM’s “I Feel Free” and “Song For Bob Dylan”. This number is a very rare number that is said to have been “UK # 3”. Tamashii is Cover of “O Gotta Get A Job” by Otagai James Brown. It seems that Bowie sang 1-2 times, and of course it is only Kingston performances that you can actually listen. The ultimate rare singing voice can be tasted with the highest peak sound ever.

Not only an extremely rare set but also a live album where singing voice that is still “Ziggy” has not ended is dazzling. It is a marvelous new excavation master who updates the highest peak in history. The charisma of the ancient times did not rule over the whole body of the Bowie overnight. 1 Bowie who was “transforming” with one performance. Knowing that process is a valuable piece of valuable information. Please enjoy the new excavation of shock.


“ZIGGY STARDUST TOUR”極初期から、まさかの新発掘マスターが登場です。本作に収められているのは「1972年5月6日キングストン公演」。古くから記録が知られ、かつては“ボウイ最古のオーディエンス録音”と言われていた伝説のショウです。しかし、本作はそんな既発のコピーやリマスター再発ではありません。最近になって発掘されたロウジェネ・マスター。あらゆる既発とはまったく違うサウンドで“ジギーへ変身していくボウイ”を体験できる貴重なライヴアルバムなのです。


以上は伝説ツアー“ZIGGY STARDUST TOUR 1972-1973”の中でも、“1972年分”だけを取り出したもの。英国ツアーも細かく分類していますが、これはメンバーチェンジに沿っています。“1973年”には大所帯となるわけですが、“1972年”は「基本の4人+キーボード」というシンプルな構成。しかし、その“1972年”だけでも、鍵盤奏者が細かく変化したのです。「英国#1」ではキーボード不在の4人編成、「英国#2」では初代のマシュー・フィッシャー、「英国#3」はロビン・ラムリー、「英国#4」はニッキー・グラハム、そして「北米」から1973年のツアー最後までがマイク・ガーソンでした。
この中で本作のキングストン公演は「英国#2」の6公演目(全体の24公演目)にあたるコンサート。当店では、“1972年”から『LIVE SANTA MONICA ’72: UK ADVANCE/PROMOTIONAL CD』をはじめ、『BOSTON 1972(Wardour-225)』『CLEVELAND 1972 1ST NIGHT(Wardour-218)』といった傑作プレスアルバムをお届けしてきましたが、それらはすべて「北米」。いかに本作が初期なのかご理解いただけると思います。
そんなキングストン公演は、かつて「ZIGGY STARDUST TOUR極初期唯一の記録」として知られてきたわけですが、本作はその最高峰を更新するもの。これまではTrialレーベルの『ZIGGY AT KINGSTON』が王座にあったのですが、本作は比較にならないほど音が良い。これまで宿命だったイントロの乱れもないのですが、それは新発掘の証拠に過ぎない。肝心なのは全体を貫くサウンド。『ZIGGY AT KINGSTON』でさえ、登場当時は専門誌から「驚くべき高音質」「既発とは比較にならないほどの音質アップ」「かなりマスターに近い音源から収録」と言われた名盤だったのですが、本作は遙かにジェネが若く、演奏・歌声の鮮度がまるで違うのです。
そして、そんな新発掘サウンドで甦った極初期“ZIGGY STARDUST TOUR”こそが素晴らしい。初期だけに『HUNKY DORY』のナンバーも大量に演奏されているわけですが、それだけではない。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」も演奏。こうしたナンバーは「英国#3」までだったと言われる激レアナンバーなんです。極めつけは、御大ジェイムズ・ブラウンのカバー「I Gotta Get A Job」。ボウイが歌ったのも1-2回だったらしく、もちろん実際に聴けるのは、このキングストン公演だけ。究極レアな歌声を史上最高峰のサウンドで味わえるのです。


1. Intro 2. Hang On To Yourself 3. Ziggy Stardust 4. The Supermen 5. Queen Bitch
6. Song For Bob Dylan 7. Changes 8. Starman 9. Five Years 10. Space Oddity
11. Andy Warhol 12. Amsterdam 13. I Feel Free 14. Moonage Daydream 15. White Light White Heat
16. I Gotta Get A Job 17. Suffragette City 18. Rock ‘N Roll Suicide 19. Waiting For The Man

David Bowie – Vocals Mick Ronson – Guitar Trevor Bolder – Bass Mick Woodmansey – Drums



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