David Bowie / Washington 1996 / 2CDR

David Bowie / Washington 1996 / 2CDR / Uxbridge
Capitol Ballroom, Washington, D.C. USA 7th September 1996

Play sample :

Click Image To Enlarge

A mini tour of the unexplored area connecting “1. OUTSIDE” and “EARTHLING”, commonly known as “BALLROOM TOUR”. The masterpiece live album which becomes the representative work is appearance.
This mini tour is just a secret. “OUTSIDE TOUR” takes place until July 1996, after which Bowie produces “EARTHLING”. The release was in February 1997 the following day, but before that, we did a mini tour of only four cities (Philadelphia, Washington, DC, Boston, New York) on the east coast, and began to release new songs little by little. This work is the best audience recording of the mini tour site “September 7, 1996 Washington DC performance”. First of all, let’s find out the position of this mini tour in the schedule of those days.

● 1995
“September 25” OUTSIDE “sale”
・ September 14-October 31: North America # 1 (27 performances)
・ November 14-December 13: UK (16 performances)
● 1996
・ January 17-February 20: Europe # 1 (23 performances)
・ June 4-13: Japan (7 performances)
・ June 18-July 21: Europe # 2 (22 performances)
“August” EARTHLING “production”
・ September 6-14: North America # 2 (4 performances) ★ ★ Coco ★
・ October 19 + 20: BRIDGE BENEFIT CONCERT appearance
・ October 24: VH-1 FASHION AWARDS

This is the schedule of those days. “EARTHLING” was produced in August 1996, and “BALLROOM TOUR” was performed immediately after “North America # 2.” This show’s Washington DC show is the second concert of the show. Although all four performances of this “BALLROOM TOUR” have audience recordings, this work is regarded as the highest peak among them. It has been awakened from the low gene master, and because of its good freshness, it is a Bowie researcher who says, “It should be almost the same as the original DAT recording.” Of course, no matter how good the master freshness is, if the recording itself is bad, it will be ruined, but there is no need to worry about it. Anyway, it is overwhelmingly on. I feel like an audience just because of the real enthusiasm and snares on the scene, but there is almost no customer record. The thick core does not feel the distance at all, and it is so small that the sound of the hall can not be understood even if it is cleared with headphones. It’s a club-sized closed room feeling, a feeling of closeness that is overwhelming, and it is a rare name recording that can be felt before the eyes of a super-large like Bowie.
Moreover, this work has been brushed up with such fine recording even more meticulous mastering. The original sound was clear and the direct feeling was amazing, but the range was somewhat narrow and it was also a flat plate. Therefore, in this work, the sound of each range is scrutinized and the omission is greatly improved. As a result, it realized the sound that can be felt even three-dimensional to one sound one sound.
The show drawn with such sound is a bridge between “OUTSIDE TOUR” and “EARTHLING TOUR”. In our shop, we introduce “BRIDGE BENEFIT 1996 MASTER (Trial-196)” right after, but that was special show of acoustic trio, but this work is “OUTSIDE TOUR” latter half and “EARTHLING TOUR” Same electric organization. The show takes over “OUTSIDE TOUR” with five people, Reeves Gabrells, Gail Ann Dorothy, Zachary Alford and Mike Gerson. Speaking of “OUTSIDE TOUR” late, there is also a great board sound board “LORELEY 1996 (Wardour-195)” or something similar or different. Not only is “Strangers When We Meet” revived, but two songs are being presented just because of the “EARTHLING” session. One is TIN MACHINE’s “Baby Universal”. Although this song was re-recorded for “Earthling” recording, it was not finally recorded. You can enjoy live music that reminds you of the new version. And one more song “Little Wonder”. It is not a premiere as it was also played on the first day of the “BALLROOM TOUR” Philadelphia show, but this is the second time it has been played. You can experience the scene where the shock of that jungle beat spreads.
Bowie boldly challenged to a new sound at the age of 50 years old. It is a great masterpiece of the live album that you can enjoy the “BALLROOM TOUR” that was the forefront with the best sound. A masterpiece of a missing link that is different from “OUTSIDE TOUR” and “EARTHLING TOUR”. Please enjoy it carefully.

『1. OUTSIDE』と『EARTHLING』を繋ぐ秘境のミニツアー、通称“BALLROOM TOUR”。その代表作となる大傑作ライヴアルバムが登場です。
このミニツアーは、まさに秘境。“OUTSIDE TOUR”は1996年7月まで行われ、その後にボウイは『EARTHLING』を製作。リリースは翌1997年2月なのですが、その前に東海岸で4都市(フィラデルフィア・ワシントンDC・ボストン・ニューヨーク)だけのミニツアーを行い、新曲を少しずつ公開し始めたのです。本作は、そのミニツアーの現場「1996年9月7日ワシントンDC公演」の極上オーディエンス録音です。まずは、このミニツアーのポジションを当時のスケジュールの中で俯瞰してみましょう。


これが当時の日程。『EARTHLING』は1996年8月に製作されており、“BALLROOM TOUR”はその直後に行われた「北米#2」。本作のワシントンDC公演は、その2公演目にあたるコンサートです。この“BALLROOM TOUR”の4公演はすべてオーディエンス録音が残っていますが、本作はその中でも最高峰と目されるもの。ロウジェネ・マスターから起こされており、あまりの鮮度の良さから、ボウイ研究家をして「大元のDAT録音とほぼ同じはずだ」と言わしめたもの。もちろん、いくらマスター鮮度が良くても録音そのものが悪ければ台無しですが、本作にその心配は無用。とにかく圧倒的にオン。現場のリアルな熱狂やスネアの鳴りにこそオーディエンスらしさを感じもしますが、それ以外に客録らしさがほとんどない。極太の芯は距離をまったく感じさせず、ホール鳴りもヘッドフォンで耳を澄ませても分からないほどささやか。クラブ規模の密室感、密着感が圧倒的で、ボウイほどの超大物を目の前に感じられる希有なる名録音なのです。
そんなサウンドで描かれるショウは、まさに“OUTSIDE TOUR”と“EARTHLING TOUR”の架け橋。当店では、直後の『BRIDGE BENEFIT 1996 MASTER(Trial-196 )』もご紹介していますが、そちらはアコースティック・トリオの特別ショウだったのに対し、本作は“OUTSIDE TOUR”後半や“EARTHLING TOUR”と同じエレクトリック編成。リーブス・ガブレルス、ゲイル・アン・ドロシー、ザッカリー・アルフォード、マイク・ガーソンの5人で“OUTSIDE TOUR”を引き継ぐショウを繰り広げられる。“OUTSIDE TOUR”後期と言えば、大名盤サウンドボード『LORELEY 1996(Wardour-195)』もありますが、それとも似て非なるもの。「Strangers When We Meet」が復活しているだけでなく、『EARTHLING』セッション直後だからこその2曲を披露している。1つはTIN MACHINEの「Baby Universal」。この曲は『EARTHLING』収録のために再録音されたものの、最終的には収録されなかった。その新バージョンを想起させる生演奏が楽しめるのです。そして、もう1曲が「Little Wonder」。“BALLROOM TOUR”の初日フィラデルフィア公演でも演奏されたために初演ではありませんが、本作は2回目。あのジャングル・ビートの衝撃が広がる現場を実体験できるのです。
50歳の大台を目前にして新たなサウンドへ果敢に挑戦していったボウイ。その最前線だった“BALLROOM TOUR”を極上サウンドで楽しめるライヴアルバムの大傑作です。“OUTSIDE TOUR”とも“EARTHLING TOUR”とも違うミッシング・リンクの代表作。どうぞ、じっくりとお楽しみください。

Disc 1 (53:17)
1. Introduction 2. Look Back In Anger 3. Scary Monsters 4. The Heart’s Filthy Lesson
5. Outside 6. Alladin Sane 7. The Voyeur Of Utter Destruction (As Beauty)
8. The Man Who Sold The World 9. Hallo Spaceboy 10. Breaking Glass
11. Baby Universal 12. Jump (They Say)

Disc 2 (45:32)
1. Under Pressure 2. “Heroes” 3. Band Introductions 4. Strangers When We Meet
5. Lust For Life 6. Little Wonder 7. All The Young Dudes 8. White Light, White Heat
9. Moonage Daydream

David Bowie – vocals, guitar Reeves Gabrels – guitar
Mike Garson – piano + keyboards, Gail Ann Dorsey – bass, vocals
Zachary Alford – drums, loops

Uxbridge 1033

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.