Faces / Definitive San Bernardino 1975 / 1CD+1Bonus DVDR

Faces / Definitive San Bernardino 1975 / 1CD+1Bonus DVDR / Wardour
Live at Swing Auditorium, San Bernardino, CA, USA 7th March 1975 plus Bonus DVDR “Kilburn 1975”.  STEREO SBD

Play sample :

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The classic superb stereo sound board that has symbolized late FACES for many years has been brushed up to the ultimate. Appears on a permanent preservation press CD.

[The ultimate form reached the end of evolutionary history] “The traditional recording was recorded on March 7, 1975 in San Bernardino.” Yes, this is the ultimate version of that super famous sound board. In the history of recording that has followed the history of rock, symbolic works that are more important and famous than official works are sometimes born. It could be an audience recording by Mike Millard, or an FM soundboard recording when it was released from the official. Such records have been loved as a classic since ancient times, and are upgraded in various ways over time. The length becomes longer, the generation becomes younger, and it is polished with precise mastering. It looks like an official work that repeats the demastered edition and the remastered version of the master sound.
The sound board recording of this San Bernardino performance is also one of those “symbols beyond official”. It is a sound board album that symbolizes late FACES and is loved more than official works. In fact, this recording has been upgraded over time. The biggest change was in 2007. The master who also recorded “Take A Look At The Guy”, “I Can Feel The Fire”, and “Angel”, which had not been heard before, was excavated and the longest record was greatly updated. The standard up to that point was changed at once. However, the upgrade was not over. Eight years later, in 2015, the master of stereo, “I Can Feel The Fire”, “You Wear It Well”, and “Maggie May”, which were mono in the longest master, appeared on the Wardor label. The longest live album “SAN BERNARDINO 1975” was born without switching between monaural and stereo. Of course, “SAN BERNARDINO 1975” was sold out and discontinued. Apparently, it seemed to be the best master that still exists, and no more than 4 years have passed since then.
And the history of such upgrades will arrive at this work. It is the ultimate board that has been refined with the latest and meticulous mastering of the master “SAN BERNARDINO 1975”. Although it was completely official since the last edition “SAN BERNARDINO 1975”, the sound quality itself is the original sound itself. The truth of Master was recorded as it was. On the other hand, this work pursued the possibility. The treble, middle and heavy bass are finely tuned, and the overall balance is adjusted after drawing out the good sound. Needless to say the exact pitch, the left and right stereo balance, which had been subtly collapsed depending on the song, was also unified. As a result, the born sound is even clearer and more dynamic, even though it does not make any sound pressure. The vocal of the rod, which was slightly retracted, comes to the front, and the whole is clearly visible. Of course, there is no crushed detail, and the natural beauty has not lost any fine dust. Although it has not been processed so as to be “a different thing” because it pays close attention not to pollute the original sound, that is why it achieves the ultimate sound suitable for the ultimate master.

[Show that symbolizes late FACES] Such “extreme sound” is drawn by the late FACES Daimyo performance with Tetsu Yamauchi. Talking about the contents of such a big classic is a bit regrettable, but it’s also a good opportunity, so let’s organize the set.

● A NOD IS AS GOOD AS A WINK… (2 songs)
・ Too Bad, Stay With Me
・ (I Know) I’m Losing You (Tempations), Every Picture Tells A Story, Maggie May
・ I’d Rather Go Blind (Etta James), Angel (Jimi Hendrix), You Wear It Well, Twistin ‘The Night Away (Sam Cook)
● SMILER (2 songs)
・ Bring It On Home To You / You Send Me (Sam Cook), Sweet Little Rock’n Roller (Chuck Berry)
・ Take A Look At The Guy, I Can Feel The Fire
● Other (2 songs)
・ Motherless Children (Traditional), Gasoline Alley (GASOLINE ALLEY)

… and it looks like this. Incorporated from Rod Stewart and Ron Wood’s solo works, it is truly diverse. The flow from “I’d Rather Go Blind” to “Too Bad / Every Picture Tells A Story”, “Angel” and “Stay With Me” is reminiscent of “COAST TO COAST”, but there is no other covering. . Clapton’s famous “Motherless Children” also shines as a name recording stamp.
And the performance itself is wonderful. There was a show that became drunk and drunk like the autumn tour that was just before the dissolution of late FACES, but this work is totally different. Perhaps because of the premise of broadcasting, there was a sense of tension in the war of everyone, and yet the unique loose paste was really rich. And Rod Stewart & Ron Wood riding a rich groove feeling unique to the latter period is really dazzling. Both giant heads, which increased their shine as stars every day, complement each other while confronting each other. It ’s a masterpiece of British rock.
単 に Whether you are willing to put it out or whether you are on the record company’s sales plan. If you miss that speculation, no matter what the masterpiece or masterpiece, even if it surpasses the official work, it will not appear on the stage. This work is the ultimate form of a traditional sound board that can’t help but feel the boundary between such official and informal. I want to touch the record of the apex without being seized by official / informal just because the rock has sublimated into “history of music” beyond fashion and customs. A British rock cultural heritage album that fulfills that desire. Please enjoy the full preservation press CD.

(Remastered memo)
★ Super high-quality sound, alleviating the muffled midrange, and the vocals that seemed somewhat retracted to the foreground, while the whole is clear.

★ The left / right balance was adjusted so that the first five songs were slightly left.


このサンバーナーディーノ公演のサウンドボード録音もまた、そんな“オフィシャル以上の象徴”の1つ。後期FACESを象徴し、公式作品よりも愛されているサウンドボード・アルバムなのです。実際、この録音も長い歴史の中でアップグレードを重ねてきました。特に大きかったのは2007年に起きた大変化。それまで聴けなかった「Take A Look At The Guy」「I Can Feel The Fire」「Angel」も収録したマスターが発掘され、最長記録を大幅に更新。一気にそれまでの基準が塗り替えられました。しかし、それでもアップグレードは終わらなかった。さらに8年後の2015年には、最長マスターではモノラルだった「I Can Feel The Fire」「You Wear It Well」「Maggie May」もステレオのマスターがWardourレーベルから登場。最長のまま、モノラル←→ステレオの切り替えもないライヴアルバム『SAN BERNARDINO 1975』が誕生したのです。もちろん、『SAN BERNARDINO 1975』は大人気のうちに完売・廃盤。どうやら現存するベスト・マスターだったらしく、それ以降4年を経た現在でも超える物が現れませんでした。
そして、そんなアップグレードの歴史は本作にたどり着く。究極とされてきた『SAN BERNARDINO 1975』マスターを最新・細心マスタリングで磨き込んだ究極盤なのです。前回盤『SAN BERNARDINO 1975』からして完全オフィシャル級ではありましたが、その音質自体は原音そのもの。マスターの真実をありのままに記録していました。それに対し、本作はその可能性を追究した。高音・中音・重低音をそれぞれ細かく整え、鳴りの良さを引き出した上でトータルでのバランスも調整。正確なピッチは言うに及ばず、曲によっては微妙に崩れていた左右のステレオ・バランスも全編ビシッと統一しました。その結果、生まれたサウンドは無闇矢鱈な音圧稼ぎなど一切していないのに、さらにクリアでダイナミック。多少引っ込み気味だったロッドのヴォーカルも前面に出ると同時に、全体も鮮明に感じられる。もちろん細部に至るまで潰れもなく、ナチュラルな美しさは微塵も失われていない。原音を汚さないよう細心の注意を払っているために「まるで別物」となるほど加工してはいませんが、だからこそ究極のマスターに相応しい至高のサウンドを実現しているのです。


・Too Bad、Stay With Me
・(I Know) I’m Losing You(テンプテーションズ)、Every Picture Tells A Story、Maggie May
・I’d Rather Go Blind(エタ・ジェイムズ)、Angel(ジミ・ヘンドリックス)、You Wear It Well、Twistin’ The Night Away(サム・クック)
・Bring It On Home To Me/You Send Me(サム・クック)、Sweet Little Rock’n Roller(チャック・ベリー)
・Take A Look At The Guy、I Can Feel The Fire
・Motherless Children(トラディショナル)、Gasoline Alley(GASOLINE ALLEY)

……と、このようになっています。ロッド・スチュワートやロン・ウッドのソロ作品からも取り入れられ、実に多彩。中盤「I’d Rather Go Blind」から「Too Bad/Every Picture Tells A Story」「Angel」「Stay With Me」と続く流れは『COAST TO COAST』を彷彿とさせますが、それ以外に被りはない。クラプトンでも有名な「Motherless Children」も名録音の刻印として輝いています。




1. Take A Look At The Guy
2. I’m Losing You
3. Bring It On Home To Me / You Send Me
4. Sweet Little Rock ‘n Roller
5. I’d Rather Go Blind
6. Too Bad / Every Picture Tells A Story
7. Angel
8. Stay With Me
9. Motherless Children
10. Gasoline Alley
11. Stay With Me
12. I Can Feel The Fire
13. You Wear It Well
14. Maggie May
15. Twistin’ The Night Away

Rod Stewart – Vocals Ron Wood – Guitar, Vocal Ian McLagan – Keyboards
Tetsu Yamauchi – Bass Kenney Jones – Drums




Faces / Kilnurn 1974 / 1DVDR / Non Label
Live at Gaumont State Cinema, Kilburn, London, UK 23rd December 1974 PRO-SHOT

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The main press CD is literally the best masterpiece of late FACES. It is a supreme piece that polished a traditional stereo sound board to the ultimate sound. If such “DEFINITIVE SAN BERNARDINO 1975” is the top of the live album, the top of the video version must be a pro-shot of Kilburn Performance.
This film was filmed in “December 23, 1974 in London”. This is a TV pro shot. It is a famous video of the late FACES for a long time, and it is a great classic that has produced a number of already-occurring shots. It is a version that has been rebroadcast in the “Best of Midnight Special” of VH1 CLASSICS in recent years. The image quality and sound quality are superb. Because of the recent re-broadcasting, the master quality with no dubbing marks is extremely beautiful, and it is a beautiful collar image that can be officially released as an archive video. The recording time is about 22 minutes and it can not be said that it is long, but it is about this work that can be seen in a late form after Tetsu Yamauchi joined.
All the songs are fascinating as the 70’s mood overflows from the beautiful screen, but the biggest highlight is the first song, Chuck Berry’s cover “Sweet Little Rock’n Roller” It will be. Keith Richards is a guest in this song. You can see a twin guitar with Ron Wood. Moreover, this co-star was a very delicate timing. “December 23, 1974” is the initial stage of Stones’ production of “BLACK & BLUE”. More precisely, it is between the Munich session in December 1974 and the Rotterdam session in January-February 1975. In other words, it was the “Great Guitarist Hunt” period when I was looking for a replacement for Mick Taylor while recording. In order to grasp the situation, let’s take a bird’s-eye view of the time series at that time with the main press CD.

● 1974
・ February 1-28: Oceania / Japan / North America
・ July 6 + August 17: Europe # 1
・ September 13-December 8: Europe # 2
<< December 7-15 “BLACK AND BLUE” Munich Session >>
《December 12: Mick Taylor leaves Stones》
・ December 23: London performance ← ★ This work ★

● 1975
<< January 22-February 9 “BLACK AND BLUE” Rotterdam Session >>
・ February 11-March 13: North America # 1 ← ★ Main story press CD ★
«March 25-April 4″ BLACK AND BLUE “Munich Session»
《April: Ron Wood joins Stones》
・ April 25: Burnbank performance
《June 1-August 8: Stones Tour》
・ August 10-November 1: North America # 2
《October 19-31 「BLACK AND BLUE」 Montreux Session》
<< December 3-16, “BLACK AND BLUE” Munich Session ”

This is Stones and FACES 1974/1975. “Great Guitarist Hunt” was the Rotterdam session from January to February 1975. This work was right after Mick Taylor left, and it was the time when the search for a successor was about to start. Keith and Ron are old friends, and when Taylor told Mick Jagger that he wanted to leave, he joined Ron who was with him. Keith’s heart is not certain, but he may have seen Ron as a “future partner”. And the stage where Ian McGregan strikes the piano behind Keith & Ron is like Stones. However, the one who holds the microphone there is … the golden shining rod Stewart !!
This work is not only the best pro shot that represents the latter FACES, but also one important page for the history of Stones. A truly historical masterpiece. Please enjoy the best rebroadcast version on this occasion.

本編プレスCDは、文字どおり後期FACESの最高傑作。伝統のステレオ・サウンドボードを究極サウンドに磨き込んだ至高の1枚です。そんな「DEFINITIVE SAN BERNARDINO 1975』がライヴアルバムの頂点とするなら、映像編の頂点はキルバーン公演のプロショットに違いない。後期FACESの頂点プロ記録を併せてコレクトして頂くべく、ボーナス付属決定です。
そんな本作が撮影されたのは「1974年12月23日ロンドン公演」。そのTV放送プロショットです。古くから後期FACESの有名映像であり、数々の既発を生み出してきた大定番ですが、本作はそんな既発群とは一線を画すもの。近年になってVH1 CLASSICSの“Best of Midnight Special”で再放送されたバージョンなのです。その画質・音質はズバ抜けている。近年の再放送だからこそダビング痕もないマスター・クオリティは極めて美麗で、アーカイヴ映像としてオフィシャル・リリースも余裕で可能な襟像美なのです。収録時間は22分ほどと決して長尺とは言えないわけですが、山内テツが加入してからの後期をまとまった形で見られるのは、本作くらいのものでしょう。
すべての曲で美しい画面から70年代ムードがあふれ出てくる様に目を奪われてしまいますが、最大の見所はなんと言っても1曲目、チャック・ベリーのカバー「Sweet Little Rock’n Roller」でしょう。この曲ではキース・リチャーズがゲスト参加。ロン・ウッドとのツイン・ギターが見られるのです。しかも、この共演は実に微妙なタイミングだった。この日「1974年12月23日」は、ストーンズの『BLACK & BLUE』制作の初期段階にあたる。もっと細かく言えば、1974年12月のミュンヘン・セッションと1975年1月-2月のロッテルダムセッションの合間。つまり、レコーディングしながらミック・テイラーの後任を探していた“グレイト・ギタリスト・ハント”時期だったわけです。その状況を把握するためにも、本編プレスCDも交えて当時の時系列を俯瞰してみましょう。

《12月7日-15日『BLACK AND BLUE』ミュンヘン・セッション》
・12月23日:ロンドン公演 ←★本作★

《1月22日-2月9日『BLACK AND BLUE』ロッテルダム・セッション》
・2月11日-3月13日:北米#1 ←★本編プレスCD★
《3月25日-4月4日『BLACK AND BLUE』ミュンヘン・セッション》
《10月19日-31日『BLACK AND BLUE』モントルー・セッション》
《12月3日-16日『BLACK AND BLUE』ミュンヘン・セッション》

これがストーンズとFACESの1974年/1975年。“グレイト・ギタリスト・ハント”は、1975年1月-2月のロッテルダム・セッションでのこと。本作はミック・テイラー脱退直後であり、これから後任探しが始まろうとしていたタイミングでした。キースとロンとは旧知の仲ですし、テイラーがミック・ジャガーに脱退の意志を伝えたときも一緒にいたロンに加入を持ちかけた。キースの心中は定かではありませんが、“将来の相棒”としてロンを見ていたのかも知れません。そして、そのキース&ロンが並び立つ背後でイアン・マクレガンがピアノを叩きまくるステージは、まるでストーンズそのもの。しかし、そこでマイクを握るのは……黄金輝くロッド・スチュワート!! 歴史的なタイミングだからこそ実現したなんとも贅沢な1曲なのです。

1. Intro 2. Sweet Little Rock ‘n Roller (with Keith Richards) 3. Rod Stewart Introduction
4. You Wear It All (partial) 5. Maggie May 6. Wolfman Jack Introduction
7. Bring It On Home To Me 8. Wolfman Jack Introduction 9. We’ll Meet Again 10. End Credit

Rod Stewart – Vocals Ron Wood – Guitar, Vocal Ian McLagan – Keyboards
Tetsu Yamauchi – Bass Kenney Jones – Drums
Special Guest: Keith Richards – Guitar (on Sweet Little Rock ‘n Roller)


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