David Bowie / Bowie To The Rescue Port Chester 1997 / 1CD

David Bowie / Bowie To The Rescue Port Chester 1997 / 1CD / Wardour

Translated text:
Capitol Theatre, Port Chester, NY, USA 14th October 1997.  STEREO SBD

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Bowie was opening up a new horizon at the 50th birthday with an ambitious work “EARTHLING”. The ultra-super stereo sound board album is on its way.
In our store we have archived the Bowie music life in total, “1997” has also delivered a number of masterpiece albums. Each one of them is brilliant, but what is indispensable for introducing this work is “NEW YORK MAN (Wardour-262)”. This work is one piece to say that sister version of that masterpiece sound board album. If you’ve been impressed by “NEW YORK MAN”, I think that you have decided your mind already, but that is not the only way. Let ‘s explain step by step.

【The highest peak sound board ever finished by a researcher】
The main work of this work is full sound board recording of “Port Chester Performance on October 14, 1997”. This show was not an ordinary concert, it was a special show performed for the MTV program “LIVE FROM THE 10 SPOT”. Moreover, it was not a bowie that appeared originally. Originally it was a live broadcasting program featuring THE ROLLING STONES, but just before becoming Mick Jagger suddenly became a cancellation. MTV, which was also unable to crush the live broadcasting frame lightly, instead offered to the Bowie where the schedule happened to be vacant. Then it was a show that we realized suddenly.
Although the program was broadcasted on TV safely, this work is not the program itself. Actually, before the live broadcast began, at the field venue three songs “The Supermen”, “Panic In Detroit” and “Voyeur Of Utter Destruction (As Beauty)” were on display. Pro shot video recorded from the related source to the test edition later flowed out later in the year, but this work is a full-length sound board including the test edition.
Besides, this work updates the highest peak in history. Actually, it is the ultimate board that carefully selected the worldwide authority of Bowie research, finished up to mastering. Although we have also introduced leakage pro shots at our shop, the sound quality of this work is totally different. The already – developed VHS Master is “roughly spilling out” and mix and mastering are rough and the ringing is poor. The drum fades thin with a bang, each musical instrument and Bowie’s vocals are flat. Nevertheless detail and direct feeling is satisfactory because it is a superb soundboard, but now that I know this work it is impossible anymore. The sound of this work is three-dimensional and deep enough not to compare. There is plenty of thickness to respond to a thin core, and cheap sounds are heavy.
The thing that is strange is that it is not merely thickening with effects. A three-dimensional positional relationship is born for each instrument, and its skimmer is packed with a lot of fine sounds that I have not noticed before. For example, the keyboard of “The Supermen” at the beginning. When I heard it back, it was also flowing to the spill VHS, but the figure of the synth is emerging as the ensemble itself became three-dimensional. I felt it was at best enough to support the chord feeling of the guitar so far, but in fact it drew a swell in line with the musical notion and also increased the sense of groove of the rhythm corps. It is a sound that comes along that details (not to be bothersome).
Just to be sure, this detail is inherently inherent in things. At that time the Bowie was in the midst of the main road world tour and the ensemble of this work is also in accordance with the original show. Up until now the sound board was not able to tell the details because of the messy finish of the live broadcast. The sound of this work makes us realize that fact again. Probably Omoto is thought to be the same outflow VHS, but it is amazing how long it will take for researchers. It is a sound that realizes not only the knowledge of the sound source but also the sense and depth of the person who has been considering Bowie’s music nature itself for many years.

【Three reasons to be sister work of masterpiece】
Actually, this is the reason why it is the sister companion of “NEW YORK MAN”. Although the masterpiece was a gem that the researcher mania finished to the ultimate form, this work was broadcasted, but it is a leakage sound board including unpublished parts as well. Moreover, it is the result of research by the hands of the same mania.
In addition, the show drawn by that ultimate sound is also reason for the sister companion. Although the masterpiece was born from “GQ MAN OF THE YEAR AWARDS” recording of “October 15, 1997”, the recording date of this work is the previous day “October 14”. As a result, the enthusiasm and potential of performance is very similar. As mentioned above, it is in the midst of a world tour, which is also the latter term. The ensemble that has finally reached the highest peak, the concentrating power which the tension of live broadcast has also been amazing is amazing. Because the set is completely different on it, I am dying. “GQ MAN OF THE YEAR AWARDS” recorded major songs that were not played, enumerating … …. “The Supermen” “Utter Destruction of Voyeur” at the beginning of the opening, “Quicksand “Look Back In Anger” “Scary Monsters” “Fame” “All The Young Dudes”. Up to seven of the 12 songs played this day are different from the next day. Although it closely resembles “NEW YORK MAN”, the songs are completely different … It is just an ideal sequel / sister work.
Following such a main part soundboard, this work additionally contains a delicious bonus track. It is a radio program “LATE NIGHT WITH CONAN O’BRIEN” recorded on “April 10, 1997 New York”. A studio live of two songs “Dead Man Walking” and “I’m Afraid of Americans” by acoustic who appeared with Reeves Gabrres and two alone. This is also the finest sound board by the same researcher. Although “Dead Man Walking” which can not be heard in this volume and acoustic echo are delicious, in fact, this is also familiar with sisters. “NEW YORK MAN” has an acoustic session of “April 8” as a bonus, which is two days before this bonus. Just from corner to corner “NEW YORK MAN” sequel. It is a supreme superb soundboard series that will be two complete and complete.

Port Chester performance which has become a name as the only perfect pro shot in “EARTHLING TOUR 1997”. It is a masterpiece of a live album that has brought up the possibilities as far as it has been refined by Bowie’s specialist on its long stereo sound board. I have repeated the “sequel to NEW YORK MAN”, but it is only for clarity and explanation. Even this work alone is the ultimate superb sound board symbolizing “1997”, and if you listen to this work you will definitely want “NEW YORK MAN”. One piece of such a superb. Please enjoy it carefully.

当店ではボウイの音楽人生をトータルでアーカイヴしており、“1997年”も数々の傑作アルバムをお届けしてきました。その1つひとつが光り輝いておりますが、本作をご紹介する上で欠かせないのは『NEW YORK MAN(Wardour-262)』。本作は、あの大傑作サウンドボード・アルバムの姉妹編とも言うべき1枚なのです。『NEW YORK MAN』に感動された事があるなら既に心を決めていらっしゃると思いますが、そういう方ばかりでもない。順を追ってご説明していきましょう。

まず本作のメインとなるのは「1997年10月14日ポートチェスター公演」のフル・サウンドボード録音。このショウは、普通のコンサートではなく、MTVの番組“LIVE FROM THE 10 SPOT”のために行われた特別公演でした。しかも、本来出演するのはボウイではなかった。元々はTHE ROLLING STONESが出演する生中継番組だったのですが、直前になってミック・ジャガーが急病になりキャンセルになってしまった。生中継枠を軽々に潰すこともできなかったMTVは、代わりにスケジュールがたまたま空いていたボウイにオファー。そうして急遽実現したショウだったのです。
番組は無事にテレビ放送されたのですが、本作はその番組そのものでもありません。実は生中継が始まる前、現場会場ではテスト的に3曲「The Supermen」「Panic In Detroit」「Voyeur Of Utter Destruction (As Beauty)」を披露していた。後年、関係筋からテスト編まで収録したプロショット映像が流出したのですが、本作はそのテスト編も含む全長版サウンドボードなのです。
不思議なのは、単にエフェクトで厚くしてるわけではないこと。各楽器に立体的な位置関係が生まれており、そのスキマには今まで気付かなかったような微細な音が大量に詰まっている。例えば、冒頭の「The Supermen」のキーボード。聞き返してみれば、流出VHSにも流れていたのですが、アンサンブル自体が立体的になった事でシンセの姿が浮き立っている。これまでせいぜいギターのコード感を下支えしている程度に感じていましたが、その実は曲想に沿ってうねりを描き、リズム隊のグルーヴ感までも増強していた。その細部も(わざわざ意識させるまでもなく)伝わってくるサウンドなのです。

実は、こうした経緯こそ『NEW YORK MAN』の姉妹編たる所以。かの大傑作は未放送のお蔵入りサウンドボードを研究家マニアが究極形に仕上げた逸品でしたが、本作は放送されたものの、未公開分も含む流出サウンドボード。しかも同じマニアの手による研究成果なのです。
さらに言うと、その究極サウンドで描かれるショウも姉妹編の理由。かの傑作は「1997年10月15日」の“GQ MAN OF THE YEAR AWARDS”収録から誕生しましたが、本作の収録日は前日の「10月14日」。それだけにパフォーマンスの熱気・ポテンシャルは酷似。前述した通りワールド・ツアーの最中であり、それも後期にあたる。それだけにこなれたアンサンブルは最高峰に達しており、生放送の緊張感も相まった集中力が凄いのです。その上でセットがまるで違うからたまらない。“GQ MAN OF THE YEAR AWARDS”収録では演奏されなかった名曲が大半を占めており、列挙しますと……冒頭未公開部分の「The Supermen」「Utter Destruction of Voyeur」、放送本番パートの「Quicksand」「Look Back In Anger」「Scary Monsters」「Fame」「All The Young Dudes」。この日演奏された全12曲中7曲までもが翌日とは異なっている。『NEW YORK MAN』に酷似していながら曲はまるで違う……まさに理想的な続編作・姉妹作なのです。
そんな本編サウンドボードに続き、本作は美味しいボーナス・トラックも追加収録しています。それは「1997年4月10日ニューヨーク」で収録されたラジオ番組“LATE NIGHT WITH CONAN O’BRIEN”。リーブス・ガブレルスと2人だけで出演したアコースティックによる2曲「Dead Man Walking」「I’m Afraid of Americans」のスタジオ・ライヴ。これも同じ研究家による厳選・極上サウンドボードです。本編で聴けない「Dead Man Walking」やアコースティックの響きも美味しいわけですが、実はここも姉妹編然としている。『NEW YORK MAN』ではボーナスとして「4月8日」のアコースティック・セッションが収録されており、これは本作ボーナスの2日前。まさに隅から隅まで『NEW YORK MAN』の続編。2本併せて完全体となる超極上サウンドボード・シリーズなのです。

“EARTHLING TOUR 1997”で唯一の完璧なプロショットとして名を成してきたポートチェスター公演。その長尺ステレオ・サウンドボードをボウイ専門の研究家が磨き上げ、可能性の限りを引きだしたライヴアルバムの大傑作です。「NEW YORK MANの続編」を繰り返してきましたが、それはあくまで分かりやすくご説明するための方便。本作だけでも”1997年”を象徴する超極上サウンドボードですし、本作を耳にしたら『NEW YORK MAN』も欲しくなること間違いなし。そんな極めつけの1枚。どうぞ、じっくりとお楽しみください。

MTV “Live From The 10 Spot”

Pre-taping performance:

1. Introductions 2. The Supermen 3. Panic In Detroit 4. Utter Destruction of Voyeur (As Beauty)

Live taping performance:

5. Quicksand 6. The Jean Genie 7. I’m Afraid Of Americans 8. Look Back In Anger
9. Scary Monsters (and Super Creeps) 10. Little Wonder 11. Fame 12. Hallo Spaceboy
13. All The Young Dudes

Bowie Bonus:

Late Night With Conan O’Brien, NBC-TV
Studio 6-A, NBC Studios. New York, NY, USA 10th April 1997

14. Introduction 15. Dead Man Walking 16. I’m Afraid of Americans




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