Genesis / Berkeley 1975 / 2CD

Genesis / Berkeley 1975 / 2CD / Virtuoso

Live At Community Theater, Berkeley, CA, USA 22nd January 1975

Play sample :

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The excavation is also remarkable, and the audience situation of “THE LAMB LIES DOWN ON BROADWAY TOUR 1974-1975” is showing excitement. Following on from the other day’s Daimyo board “SOUTHAMPTON 1975 (Virtuoso 433/434)” comes a shocking board.
“The Berklee performance on January 22, 1975” is contained in this work. It is a super-high-end audience recording that conveys the whole picture. “SOUTHAMPTON 1975” that I introduced last time was a live-matching bum in my native England, but this work is in the United States. First of all, let’s review the whole picture of the world tour as usual and confirm the position of the show.

● 1974
《November 18 “Dazzling Broadway” released》
・November 20th-December 18th: North America #1 (26 performances)
・January 9-February 4: North America #2 (19 performances) ←★Coco★
・February 19th-April 12th: Europe #1 (34 performances)
・April 14th-May 2nd: UK (16 performances) ←* “SOUTHAMPTON 1975”
・May 8-24: Europe #2 (13 performances)

This is GENESIS…No, the whole picture of the story tour that remains in the history of British rock. It was largely divided into North America/Europe, and from the release of the album to the end of the year, “North America” ​​was followed by “Europe”. Among them, the Berklee performance of this work is “the last half of the first half”. It was the 10th performance of “North America #2”.
This work recorded at such a show is attracting attention as “Broadway tour’s best audience recording!” Currently, perhaps due to the influence of the corona vortex, excavation of customer records for “Broadway tours” is popular among collectors. In addition to “SOUTHAMPTON 1975” the other day, masterpiece masters such as “ANNECY 1975 (Amity 612)” and “MUNICH 1975 (Amity 611)” are appearing one after another. This work is also one that appeared in that flow, and it is a super masterpiece that easily surpasses the previous works.
What is most shocking is the thick and beautiful core. The pressed SOUTHAMPTON 1975 was neat, but this product has a much closer feeling and is extremely on. Although there is a level of ringing at the level where you can finally notice it by listening to your headphones, you are not feeling the distance. The recording position has not been transmitted only to the show 45 years ago, but the feeling is so close that I think that it is in the front row or right in front of the PA. However, it’s also important to be aware that the hall is ringing. After all, the “Broadway Tour” is the best sound board abundant production area in the Peter Gabriel era. It’s not surprising if it’s just a “soundboard-like recording”. However, in this work, the sound of the subconscious level creates an exquisite illusion, and in combination with the real cheer, it gives you an unprecedented sense of reality. In particular, Peter’s vocal has a spectacle that fills the venue with details of one word of the lyrics, and Banks’s Mellotron has a generous capacity. And the base of Rutherford. This is very interesting. The attack is bribli and bright, but the vibe that rises from there has a sense of scale that makes the entire venue a speaker. It’s as close to a sound board as it’s super clear, but it also has a “sound world view” that couldn’t be possible with a line… it’s just a magical sound only from a guest record.
The show drawn with such beauty and magical sound is also a special feature. Above all, there are few cuts. If you are familiar with the audience recording of “THE LAMB LIES DOWN ON BROADWAY TOUR”, I think it will come as a pin, but there are almost no easy breaks in a long story show, and every single note is recorded in the audience recorded with one tape. That is a difficult task. Unless it is combined with another recording, a tape change will cause a cut somewhere. This work is no exception, but it’s extremely few… I mean, only one place in the second half of “The Waiting Room”. It is safe to say that this vast experience is a feat, not to mention “SOUTHAMPTON 1975”.
Also, points after the story show is over. In this tour, it is usual to perform one of “The Musical Box”, “Watcher of the Skies” and “The Knife” on the encore. “The Musical Box” and “Watcher of the Skies” are being shown in quick succession. In fact, it’s a full show that’s not only the volume of songs, but also the fulfillment of the performance.

”The LAMB LIES DOWN ON BROADWAY TOUR” that sparkles in rock history. It’s a story tour that I’ve repeated over and over again, but unlike Tommy or The Wall, I can’t hope for a repeat. This work is a great masterpiece that any rock fan in the UK can experience the miracle scene craving for the best. Press 2CD that permanently preserves the “beauty” and “reality” that only the finest audience recordings can achieve. Please enjoy yourself to your heart’s content.

発掘も目覚ましく、にわかに盛り上がりを見せている“THE LAMB LIES DOWN ON BROADWAY TOUR 1974-1975”のオーディエンス状況。先日の大名盤『SOUTHAMPTON 1975(Virtuoso 433/434)』に続く、衝撃の極上盤が登場です。
そんな本作に収められているのは「1975年1月22日バークリー公演」。その全貌を伝える超極上オーディエンス録音です。前回ご紹介した『SOUTHAMPTON 1975』は母国イギリスでのライヴ合うバムでしたが、本作はアメリカ。まずは、いつものようにワールド・ツアーの全体像を振り返り、ショウのポジションを確かめておきましょう。

・4月14日-5月2日:英国(16公演)←※『SOUTHAMPTON 1975』

そんなショウで記録された本作は「ブロードウェイ・ツアー最高のオーディエンス録音!」と話題を集めているもの。現在、コロナ渦の影響なのか、コレクター間では“ブロードウェイ・ツアー”の客録発掘が盛ん。先日の『SOUTHAMPTON 1975』だけでなく、『ANNECY 1975(Amity 612)』『MUNICH 1975(Amity 611)』など、次々と傑作マスターが登場しています。本作もまた、その流れで現れた1本であり、これまでの諸作を軽々と凌駕してしまう超傑作なのです。
何よりも衝撃的なのは、その図太くも美しい芯。プレス化を果たした『SOUTHAMPTON 1975』も端正ではありましたが、本作の方が遙かに密着感があり、極めてオン。ヘッドフォンで耳を澄ませてようやく気づくレベルのホール鳴りはあるものの、およそ距離感にはなっていない。45年前のショウだけに録音ポジションまでは伝わっていませんが、最前列かPAの真ん前じゃないかと思うほどの密着感なのです。とは言え、意識しないレベルのホール鳴りも重要だったりする。何しろ、“ブロードウェイ・ツアー”はピーター・ガブリエル時代でも随一の極上サウンドボード豊作地帯。単に「サウンドボードっぽい録音」なだけなら驚くに値しません。ところが、本作は無意識下レベルの鳴りが絶妙な幻想感を醸しだし、リアルな喝采と相まって得も言われぬ臨場感を味わわせてくれるのです。特にピーターのヴォーカルは歌詞の1語まで詳細でありながら会場を満たしていくスペクタクルが宿り、バンクスのメロトロンにはぶ厚い包容力がある。そして、ラザフォードのベース。これが非常に面白い。アタックはブリブリとブライトなのですが、そこから立ち上るヴァイヴには会場全体がスピーカーになったようなスケール感がある。サウンドボード並に密着していて超クリアでありながら、ラインではあり得ない“音の世界観”が同居している……まさに客録だけのマジカル・サウンドなのです。
そんな美と魔法のサウンドで描かれるショウも特筆モノ。何より素晴らしいのは、カットの少なさ。“THE LAMB LIES DOWN ON BROADWAY TOUR”のオーディエンス録音に詳しい方ならピンと来ると思いますが、長大な物語ショウには分かりやすい切れ目がほとんどなく、テープ一発で記録するオーディエンスでは1音残らず記録するというのは至難の業。別録音で組合せでもしない限り、テープチェンジでどこかにカットが生じてしまうものなのです。本作も例外ではないものの極めて少ない……と言いますか、「The Waiting Room」後半部の1カ所だけ。『SOUTHAMPTON 1975』を例に出すまでもなく、この長大な体験感は、まさに快挙と言って良いでしょう。
また、物語ショウの終了後もポイント。このツアーではアンコールに「The Musical Box」「Watcher of the Skies」「The Knife」のどれかが演奏されるのが常なのですが、この日の出来によほど満足したのか、本作では2曲「The Musical Box」「Watcher of the Skies」が立て続けに披露されている。実際、曲数ボリュームだけでなく、演奏の充実感にも充ち満ちたフルショウなのです。

ロック史に燦然と輝く“THE LAMB LIES DOWN ON BROADWAY TOUR”。これまでも何度も繰り返してきましたが、『トミー』や『ザ・ウォール』とは違って再演が望めない物語ツアーです。本作は、英国ロックファンなら誰もが渇望する奇跡の現場を極上体験できる大傑作です。極上オーディエンス録音だけが成しうる“美”と“現実感”を永久保存したプレス2CD。どうぞ、心ゆくまで存分にお楽しみください。


Disc 1 (49:44)
1. The Lamb Lies Down on Broadway
2. Fly on a Windshield
3. Broadway Melody of 1974
4. Cuckoo Cocoon
5. In the Cage
6. The Grand Parade of Lifeless Packaging
7. Story of Rael 1
8. Back in NYC
9. Hairless Heart
10. Counting Out Time
11. Carpet Crawlers
12. The Chamber of 32 Doors

Disc 2 (72:20)
1. Story of Rael 2
2. Lilywhite Lilith
3. The Waiting Room
4. Anyway
5. Here Comes the Supernatural Anaesthetist
6. Interlude
7. The Lamia
8. Silent Sorrow in Empty Boats
9. The Colony of Slippermen
10. Ravine
11. The Light Dies Down on Broadway
12. Riding the Scree
13. In the Rapids
14. It
15. The Musical Box
16. Watcher of the Skies

Virtuoso 437/438

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