Faces / Seattle 1972 / 1CD

Faces / Seattle 1972 / 1CD / Wardour

Translated Text:
Live at Seattle Center Coliseum, Seattle, Washington, USA 2nd September 1972


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Do you like your THE FACES? “Of course Is the!” Person is, but of course, “Not really,” and “long name” of the people also, please bear only for a little while. This just is, even those who do not know even one song, I have a little more value to stop worrying. This work is wonderful about it, best of “vintage album”. The word “as at the time good sound quality”, although there is also a sound that was bleeding excuse mid by usage, and come hear from this work I want to say to be “what is recorded because at that time”. This deep, deep flavor, No way music, recording, and …… Would say even to have been aged with time.
My name was delayed. This work is the audience album THE FACES that contains the Seattle performances of 1972. And pilfering the Ian McLagan that had traveled to Ronnie Lane of the original in this month the 3rd, recordings that JEMS has been excavated and presentation. Although it is past the reel-to-reel recording that has been around even on the net, it was the first time from the original tape deck this time is the digital transfer. The sound, I truly only JEMS master …… come full of sorry splendor.
Latest live IEM and studio demo of various bands, etc. back excavation of official, I’ve been dealing with really various types of sound source, there is the most weight to the sound itself, still portable recording equipment is spread old audience recording of before. But is not heavy precious than anything, it is recorded it is easy to hear Among them, the tape you have survived the test of time in great condition and wearing an aura that want to call and even “dignity”. This work,’s a superlative board of such recording. Amateurish recording equipment only in spite of the era did not have it when you see from the modern, it can be said, taste of precisely because it is appropriate to call a very “vintage”.
In fact, the sound of this work may be separation of each instrument, the sound Zubutoku is core from bass to treble, and there is no collapse. Even sound board if at that time, and level is that …… whether this enough to be clean record. Moreover, because the band equipment at the time, and because recording equipment, and taste also firmly certain of precisely because open-air recording. For example, in the Chicago blues, but even in the era of advanced of digitization there are cases that attempt to reproduce the sound of the ’50s Chess label, and is similar to that feeling. Mere “good sound” a taste beyond, taste …… whether ………… still the “dignity” should I whopping express this rich feel,’ll we do? When it comes to this much sound, and let’s not that there necessarily in any band. Excavation are many, one or two even in long popular band history, and whether or not there. Such the level I.
And, THE FACES music suits to prevent in the deep deep vintage sound. Bruce on guitar and Buttoi beat blurred and Juwa~tsu, Colo and comfortably roll piano. And, there’s roar was longing even that Paul Rodgers “soul of vocal”. Also dexterity song poke in the nose, nor inflame unnaturally, it is Rod Stewart before over the Atlantic Ocean. In blunt as friendly, live the lock explodes most rock Rashika~tsu band sound is in the whole volume. Better yet mood that was a slapstick also increases the historical mood and phase circle and jerk and depth of sound, as if it what are listening in Southern blues just electric into the 1940s. Finally, this work to close the curtain on the mood in the Cappella duet of revelry “Twistin ‘The Night Away”. Be aroused chest spectacle feeling was beyond time and space, it is a moment to soak in the afterglow that became mix is not the first time in Ngong and freshness. As “TOMMY” has exceeded the existence of band THE WHO, this work might have gone beyond the other FACES even itself (THE FACES towards the fan, please forgive me whether rude Monoi) …… think so as would, I is best of British rock are drips.

And once to say the audio terms, is a “In those days an unprecedented audience recording”. However, it is not only in the classification. Charm of this work, in another dimension with such dull words. Or “best of vintage” is to have any taste, and the band that it looks good, and what things of the lock. Even did not particularly think put, is delicious sake, even as the first time drank, is still good at. Even just try to taste it, the value of this work is more than enough. Of course, it is not a taste that leads to the million people, if our customers (even though do not know even if one song) or not the in who can know. And rice also such feelings, and will deliver this work to be finished in the press CD of permanent specification.

あなたはTHE FACESがお好きですか? 「もちろんさ!」な方はもちろんですが、「そうでもない」や「名前くらいは」な方も、少しの間だけお付き合いください。今回ばかりは、1曲も知らない方であっても、ちょっと気に止める以上の価値があるのです。本作はそれくらい素晴らしい、極上の“ヴィンテージ・アルバム”。「当時としては良好な音質」という言葉は、使い方によっては半ば言い訳じみた響きもありますが、本作から聞こえてくるのは「当時だからこそ録れた」と言いたい。この深い深い味わい、まさか音楽が、録音が、時間と共に熟成されたとでもいうのでしょうか……。
申し遅れました。本作は1972年のシアトル公演を収めたTHE FACESのオーディエンス・アルバムです。今月3日にロニー・レーンの元へ旅立ってしまったイアン・マクレガンを忍び、あのJEMSが発掘・発表した録音。過去にもネット上では出回っていたリール・トゥ・リール録音ですが、今回初めてオリジナルのテープデッキからデジタル・トランスファーされました。そのサウンドは、さすがJEMSマスター……だけでは済まない素晴らしさが溢れてくるのです。
そして、その深い深いヴィンテージ・サウンドにTHE FACESミュージックが異様に似合う。ブルースはじゅわっと滲むギターとぶっといビートに、コロコロと心地よく転がるピアノ。そして、そこに轟くのは、あのポール・ロジャースですら憧れた“魂のヴォーカル”。歌の巧さが鼻に突くでも、わざとらしく煽るわけでもない、大西洋を越える前のロッド・スチュワートです。ぶっきらぼうなようで人懐こい、ロックが最もロックらしかったバンド・サウンドが全編で炸裂するライヴ。いっそドタバタとしたムードも、サウンドのヒストリカルなムードと相まるとグッと深みが増し、それこそ40年代にエレキ化したばかりのサザン・ブルースでも聴いているかのよう。お祭り騒ぎな「Twistin’ The Night Away」の最後に、アカペラ・デュエットでムードたっぷりに幕を閉じる本作。時空を超えたスペクタクル感に胸を掻き立てられ、昂ぶりとすがすがしさがない交ぜになった余韻に浸るひとときです。「TOMMY」がバンドTHE WHOの存在自体を超えたように、本作はもうFACES自体さえ超えてしまったのかもしれない(THE FACESファンの方、どうか失礼な物言いをお許しください)……そう思えてしまうほど、英国ロックの粋が滴り落ちているのです。


1. Introduction 2. It’s All Over Now 3. Miss Judy’s Farm 4. Memphis Tennessee 5. Maggie May
6. Stay With Me 7. Angel 8. Too Bad 9. I’d Rather Go Blind 10. That’s All You Need / True Blue
11. Maybe I’m Amazed 12. (I Know) I’m Losing You 13. Twistin’ The Night Away

Rod Stewart – Lead Vocal Ron Wood – Guitar, Vocal Ronnie Lane – Bass, Vocal
Ian McLagan – Keyboards Kenney Jones – Drums






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