Rory Gallagher / Tokyo 1977 Final Night / 2CD

Rory Gallagher / Tokyo 1977 Final Night / 2CD / Wardour

Translated Text:
Live at Nakano Sunplaza, Tokyo, Japan 5th November 1977 Evening Show

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“November 5, 1977: Nakano Sun Plaza Hall (Evening Department)” performance which became “the last Japanese live in the 70’s”. The first ever live album with complete recording of its entire appearance is released with permanent preservation press 2CD.
Rory will also be in Japan for the fourth time in 1991, but his popularity caught him in the seventies. It was the third peak in 1977, which lasted in 1974 and 1975. First of all, let’s check the position of the show in the schedule that makes it popular for the first time.

· October 25: Nagoya City Auditorium
· October 27: Hiroshima Postal Savings Hall
· October 31: Osaka Festival Hall
· November 1: Osaka Health Pension Center
· November 3: Shinjuku Welfare Pension Center (Day section)
· November 3rd: Shinjuku Welfare Pension Center (Evening section)
· November 4: Shinjuku Welfare Pension Center
· November 5: Nakano Sun Plaza Hall (day section)
· November 5: Nakano Sun Plaza Hall (Evening section) → 【this work】

Over all, nine performances. Since the other Japan tour was 5 performances, it is about 2 scales. It is a schedule on which the popularity of the time which was overheated was transmitted, not to get tired even though I was coming to Japan from 1974 even though it was not able to open even between. “November 3rd” and “November 5th” was a schedule of two shows a day, but the performance of Nakano Sun Plaza Hall in this work is exactly the last day of the final performance. This show has been known for a long time, and our shop has been loved as “TOKYO 1977” of the Trial label. However, this work is a completely different recording from that, original master who was brought in from its own route. It is a superb live album that far surpasses the previous episode.
In fact, the quality of this work is a splendid audience sound. A strong musical tone is on and on and it feels like a distance. It is undoubtedly an audience recording in terms of the cheerfulness of cheers, but its close feeling is the splendidness of escaping bare feet of Sonjiya’s line recordings. Moreover, the original freshness unique to the master is also preeminent, if the ringing is glossy also the detail is also a detailed name recording.
Moreover, this work is a seamless complete recording. Since it is a cassette recording of those days, lack of tape change is unavoidable fate. However, this powerful pre-existing “TOKYO 1977” was present in this show, so I could complement that part. Whether the recording house is used so much, both are cuts between songs, tuning, waiting for an encore, etc., but they are supplemented neatly. Moreover, the reality of such a scene is also delicious in this work. It is realistic to go crazy enough for the show to go, but more than that is waiting for the encore. Katakana pronunciation “Encore! Anne Cool!” Is indeed in the 70’s, and there are others who cry in Japanese saying “Rather than Yarrah!” “It’s awesome !!” as it is said that Rory does not know anything. Of course, this is the enthusiasm for being upgraded to Guyugui by the performance of one song till it reaches there. This work that seamlessly sees the whole picture can synchronize feelings with such spectators. The master of this time is the first appearance of the encore after the “Bullfrog Blues” which was not recorded at “TOKYO 1977”, it can naturally taste all of the day naturally.
And such a show is the life of this work. The set is “AGAINST THE GRAIN” of the chrysalis era and the new work “CALLING CARD” of the time, and the blues / R & B cover is scattered in there. The lineup is also very delicious, as well as the promised “Bullfrog Blues” “Messin ‘With The Kid”, as well as the prewar masters Blind Boy Fuller’s “Pistol Slapper Blues” played in the acoustic set, switching to Dobro JB Hutto’s “Too Much Alcohol” and Mandolin’s fun Trad’s “Going to My Hometown” and so on. These numbers are familiar to Daimyo boards “LIVE IN EUROPE” and “IRISH TOUR ’74”, but this work is their Japanese performance version. In addition, we are showing off rare “Something You Got” which was only on this day even in the Japanese performance.
The band that plays such a set is a celebration that can be said as a culmination of four people era. Prior to coming to Japan, there was an announcement that “It will be a six person formation”, but when I opened the lid, it was a group of four of the same men. Of course, there is no husband whose golden members are bad, and the ensemble that has grown up from “BLUEPRINT” is extremely mature. Rod Diaz begins to breathe a beat that Rory matches, and Lou Martin spins out without knowing the sound he wants. As a matter of fact, in the months ahead Rod and Lou will separate the., And this work is also the final arrival point just before that.

Rory who took three visits to Japan and 19 shows in three years from the first visit to Japan in 1974. This work is such “The Last Night of the 70 ‘s”. It is its highest peak complete collection album.
Neither the spectators and Rory who gathered here do not think that next will be in 14 years, just locking innocently hotly. It stays in the scene and one can soak the whole body in dripping blues. Rory was shining best The popular crowd of momentum. Please enjoy plenty with the superb sound of the new excavation master.

★ Amazing New Master Completely Recorded with Superb Sound Quality! This is truly amazing. One recommended piece!



以上、全9公演。他のジャパンツアーは5公演でしたから、約2周り分のスケール。1974年からさして間も開けずに来日していたにも関わらず、飽きられるどころか過熱していた当時の人気ぶりが伝わる日程です。“11月3日”と“11月5日”は1日2公演という強行スケジュールでしたが、本作の中野サンプラザホール公演は、まさにその最終日・最終公演なのです。このショウは以前から録音が知られており、当店でもTrialレーベルの『TOKYO 1977』として愛されてきました。しかし、本作はそれとはまったくの別録音で、独自ルートからもたらされたオリジナル・マスター。既発を遙かに凌駕する極上ライヴアルバムなのです。
しかも、本作はシームレスな完全収録。当時のカセット録音ですから、テープチェンジの欠けは避けられない宿命。しかし、このショウには強力な既発『TOKYO 1977』が存在したために、そのパートを補完できたのです。録音家がよほど手慣れているのか、いずれも曲間やチューニング、アンコール待ちなどでのカットではありますが、それらも綺麗に補完。しかも、本作はそうしたシーンのリアリティも美味しい。ショウが進むほどに熱狂していくのもリアルですが、それ以上なのがアンコール待ち。カタカナ発音の「アンコール! アンコォール!」がいかにも70年代的ですし、どうせロリーには分からないと言わんばかりに「もっとヤレー!」「出てこーい!!」と日本語で叫ぶ輩もいる。もちろん、そこに至るまで1曲1曲の熱演でグイグイと引き上げられたからこその熱狂。その全貌をシームレス体験できる本作は、そんな観客達と気持ちまでシンクロできる。今回のマスターは『TOKYO 1977』で録音漏れだった「Bullfrog Blues」以降のアンコールも初登場で、当日のすべてを自然に味わい尽くすことができるのです。
そして、そんなショウこそが本作の生命。セットはクリサリス時代の『AGAINST THE GRAIN』と当時の新作『CALLING CARD』が軸となっており、そこにブルース/R&Bカバーが散りばめられる。そのラインナップも実に美味しく、お約束な「Bullfrog Blues」「Messin’ With The Kid」はもちろん、アコースティック・セットで演奏される戦前の達人ブラインド・ボーイ・フラーの「Pistol Slapper Blues」、ドブロに持ち替えてのJ.B.ハットーの「Too Much Alcohol」やマンドリンも楽しいトラッドの「Going to My Hometown」等々。こうしたナンバーは大名盤『LIVE IN EUROPE』『IRISH TOUR ’74』でもお馴染みですが、本作はその日本公演版。さらには日本公演でもこの日だけだったレアな「Something You Got」まで披露しています。



Disc 1 (72:02)
1. Intro. 2. Moonchild 3. Bought And Sold 4. Band Introductions 5. Tattoo’d Lady
6. Calling Card 7. Secret Agent 8. A Million Miles Away 9. Do You Read Me
10. Out On The Western Plain 11. Pistol Slapper Blues 12. Too Much Alcohol
13. Goin’ To My Hometown

Disc 2 (55:05)
1. I Take What I Want 2. Garbage Man 3 Something You Got 4. Souped Up Ford
5. Bullfrog Blues 6. Messin’ With The Kid 7. Boogie

Rory Gallagher – Guitar & Vocal Gerry McAvoy – Bass Lou Martin – Keyboards
Rod De’Ath – Drums


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