Genesis / Dijon 1975 / 2CD

Genesis / Dijon 1975 / 2CD / Virtuoso
Live at Palais des Sports, Dijon, France 1st March 1975

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Recently, a new excavation of “THE LAMB LIES DOWN ON BROADWAY TOUR” has been suddenly showing excitement. Among them, a masterpiece that represents the European leg known as unexplored area is born.
“Dijon performance on March 1, 1975” is included in this work. It is the finest audience recording. Unlike “Tommy” and “The Wall”, the “Dazzling Broadway Tour” has a unique sparkle without a repeat performance. Somehow, 45 years later, in 2020, the audience’s deciding board is running. We have archived many masterpiece live albums in our shop, but the most important thing in the collection is the “Europe” leg, and this work is the highest peak. In order to explain the meaning of “most important”, let’s first review the whole story tour of the century 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)
・February 19th-April 12th: Europe #1 (34 performances) ←★here★
・April 14-May 2: UK (16 performances)
・May 8-24: Europe #2 (13 performances)

This is the whole view of “THE LAMB LIES DOWN ON BROADWAY TOUR 1974-1975”. It can be roughly divided into “First half = North America” ​​and “Second half = Europe”, and the latter half can be subdivided into “Europe”, which is continental Europe, and “England”, the mother country. Meanwhile, the Dijon performance of this work was the 9th performance of “Europe #1”. So why is Europe the most important thing? It’s in the recording situation. As I’ve touched on many times, the “Dazzling Broadway Tour” is a famous production line recording line even during the Peter Gabriel era. Many official soundboard albums have appeared. However, most of them are “North America” ​​tours, and the only exception is “DEFINITIVE LIVERPOOL 1975 (Virtuoso 368/369)” in their native UK. In other words, only “Continental Europe” is not blessed with a full sound board. Perhaps because of that craving, recent excavations are actively discovering masterpieces of Continental Europe, such as the Annecy and Munich performances, but this is another step in terms of quality. Unfortunately, it was all live albums that did not reach permanent preservation. The press-class Daimyo board was finally unearthed in such a situation. That is the true nature of this work.
In fact, the quality of this work is superb. Despite being a type similar to the English version “SOUTHAMPTON 1975 (Virtuoso 433/434)” that was permanently preserved earlier, this work is even clearer and the sound is glossy. For those who do not know “SOUTHAMPTON 1975”, I would like to explain to you a type that sucks in the sound of the hall slightly, but does not create a sense of distance, and only produces thickness and dynamism. Anyway, there is no sense of distance in the core, and the snare, which tends to give an audience-like impression, is also dense from shot to shot. It wouldn’t be strange if the bass were cracked or cracked when it became such a powerful recording in the 70’s, but there is no such thing in this work, and the audience with a clear performance and singing voice while holding a fantasy feeling It’s a beautiful recording.
What is even more amazing is that it is a nearly complete story. Actually, the encore “The Musical Box” and “Watcher of the Skies” are largely missing, especially the former is not a full version of the show because it was recorded for less than 3 minutes last, but that is not a problem. I couldn’t find any nicks in the essential “Dazzling Broadway” part (probably there may be a cut in “The Waiting Room”, but it doesn’t feel strange at all). Those who have collected the customer record of this tour will come with a pin, but it is extremely rare to record without listening to a long story. It’s packed with luxuries that couldn’t be enjoyed even in the popular SOUTHAMPTON 1975 and BERKELEY 1975 (Virtuoso 437/438).
If you add even more, it is amazing that the show will be completed. The Genesis collector’s purveyor’s super-famous site also described it as “this performance to be the best of the lot…pretty good”, but it certainly has a tight ensemble and well-developed vocalization. Above all, I’m doing two encore songs. This tour usually has only one encore after “Dazzling Broadway”. However, on this day, they are doing two big songs, and they can see how satisfied they are (though this part is an incomplete recording, as mentioned above).

A masterpiece at the top of Continental Europe where there is no full sound board. It is a great performance that allows you to fully experience a long story with the super quality attached to it, and also recognizes completers. If there is “one record of Broadway tour’s guest book”, there is no other place to put this work. A masterpiece of such a dimension. Please enjoy the permanent experience with the permanent storage press 2CD.

★The first CD. Really great sound quality.

最近、突如として盛り上がりを見せている“THE LAMB LIES DOWN ON BROADWAY TOUR”の新発掘。その中でも秘境として知られる欧州レッグを代表する超傑作が誕生です。


これが“THE LAMB LIES DOWN ON BROADWAY TOUR 1974-1975”の全景。大雑把に「前半=北米」「後半=ヨーロッパ」に二分され、後半は大陸ヨーロッパである「欧州」と母国「英国」に細分できます。そんな中で本作のディジョン公演は「欧州#1」の9公演目にあたるコンサートでした。さて、なぜ欧州が最重要なのか。それは録音事情にあります。これまで幾度も触れてきましたが、“眩惑のブロードウェイ・ツアー”はピーター・ガブリエル時代でも極上ライン録音の名産地。何本もの公式級サウンドボード・アルバムが登場しています。しかし、そのほとんどが「北米」ツアーのものであり、例外は母国イギリスの『DEFINITIVE LIVERPOOL 1975(Virtuoso 368/369)』のみ。つまり、“大陸ヨーロッパ篇”だけがフル・サウンドボードに恵まれていないのです。その渇望感からか、最近の発掘ではアヌシー公演やミュンヘン公演など、大陸ヨーロッパの傑作が積極的に発掘されているのですが、クオリティ面でもう一歩。惜しくも永久保存に届かないライヴアルバムばかりでした。そんな中で遂に発掘されたプレス級の大名盤。それこそが、本作の正体なのです。
実際、本作のクオリティは極上。先に永久保存されたイギリス篇『SOUTHAMPTON 1975(Virtuoso 433/434)』に近いタイプながら、本作はさらにクッキリとしていて鳴りも艶やか。『SOUTHAMPTON 1975』をご存じない方のためにご説明しますと、ホール鳴りをほんのり僅かに吸い込みつつ、それが距離感にならず、厚みとダイナミズムだけを美味しく演出するタイプ。とにかく芯に距離感がなく、オーディエンスらしさが出やすいスネアも一発一発まで密度たっぷりなのです。70年代でそれほど力強い録音となると重低音にビビりや割れが起きても不思議ではないのですが、本作にはそれもなく、幻想感を宿しながらも演奏や歌声がクッキリとしたオーディエンスならではの美録音なのです。
さらに驚くべきは、ほぼ完全収録された通し物語だと言うこと。実のところ、アンコール「The Musical Box」「Watcher of the Skies」が大きく欠け、特に前者はラスト3分弱しか録音されていないのでショウの完全版ではないのですが、それは問題じゃない。肝心要の『眩惑のブロードウェイ』パートには欠けらしい欠けが見当たらないのです(もしかしたら厳密には「The Waiting Room」にカットがあるのかも知れませんが、違和感がまったくありません)。このツアーの客録をコレクトされている方ならピンと来ると思いますが、長大な物語を欠けナシで聴ける録音は極めて希。最近、大好評を博した『SOUTHAMPTON 1975』や『BERKELEY 1975(Virtuoso 437/438)』でも味わえなかった贅沢がたっぷりと詰まっているのです。
さらにさらに付け加えるなら、ショウの出来までもがすこぶる素晴らしい。GENESISコレクター御用達の超有名サイトでも「this performance to be the best of the lot…pretty good」と評されましたが、確かにタイトなアンサンブルも漲ったヴォーカリゼーションも文句なし。何より、アンコールを2曲もやっている。このツアーは通常『眩惑のブロードウェイ』の後にアンコールは1曲だけ。ところがこの日は大曲を2曲もやっているわけで、彼ら自身がいかに満足していたかが分かるというものです(前述の通り、このパートは不完全収録ですが)。




Disc 1 (50:38)
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 N.Y.C.
9. Hairless Heart
10. Counting Out Time
11. The Carpet Crawlers
12. The Chamber of 32 Doors

Disc 2 (66:46)
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 441/442

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