Who / Stuttgart 1975 / 2CD

Who / Stuttgart 1975 / 2CD / Non Label
Live at Messehalle, Stuttgart, Germany 3rd November 1975

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Translated text:

The tour which took place under the latest masterpiece album “THE WHO BY NUMBERS” at the time was also a synergistic effect that the movie version “TOMMY” was a big hit, and it reached virtually one year, Keith Moon at the time of life It was also the last live tour in Japan. At first glance it seems that this time it seems that the item is rich in impression and it is time to be blessed with a good quality sound source. However, the release of items is focused only on the legs of 1976. Indeed Charlton actually released nearly ten years ago, Lago in Jacksonville in recent years, Winnipeg in Seattle, and Toronto which ended the long tour last year were released last year, none of which captured the stage of 76 years. We also had a track record of releasing Providence in the past for the 1975 Leg which was the first half of the tour, but we have never released a sound source in Europe or the UK before that.
To begin with, there were extremely few items that contained the beginning of the “BY NUMBERS” tour, and there was a paper jacket CD called “BORIS THE SPIDER” that contained the Ludwigshafen concert of November 7 20 years ago only. Because this was a reasonable audience recording and there was pitch disorder etc., it was said that it was evaluated only to some maniacs. In the UK and Europe tour itself in 1975, the sound source was circulating among traders, but as the proof of the paper Jacket CD earlier proved, none of the sound quality is one.

In such a situation, this is the November 3th Stuttgart performance that will be released this time, but in reality in the 75 year Europe tour it existed as an audience recording boasting a distinctive high-quality sound before. Despite monaural recording, clearly speaking it is much higher quality than Ludwigshafen on July 7, and it is strange that why no sound source boasting such a quality boasts has been released so far.
The performance is captured with a surprisingly on balance, and among them the recording state that is unbearable to Fu Mania who said that the sound of his drums including Keith ‘s “stepping” bass drum was captured vividly. To be defeated by that, Roger ‘s presence of the greatest to let you hear a wonderful singing voice throughout the entire story is also captured with an exquisite balance. From this tour, we developed a PA system that diverts some of the speakers stacked on the stage to the Roger’s vocal monitor by Boo Puden who is the engineer of The Who. The power of the system which can sing without being disturbed by the explosive sound of The Who other members is demonstrated and literally song enthusiast of Roger literally follows “Dreaming From The Waist”.

However, on this day the audience of Stuttgart is noisy right after the start of the show, and it is noisy from the middle of the new song “Squeeze Box”. And when “Behind Blue Eyes” finishes, Pete who has run out of numbness saying “Please quiet down! Do it quietly in a minute! Do not throw a bottle! Do not throw the bottle, if you can even throw at least one from now I’ll be back! I’m scolded when I will. Although it is not so unusual to say that Pete yells at the audience at the live of Fu. Was the trainee effective? The spectators became grown-ups, and Pete was also interesting, as he regained calmness sooner than “Thank you, thank you”. Were you feeling reliable on Pete’s appearance, the fellow who continues to shout “Take Pete Townsend!” In the vicinity of the taper since then is bitter smile.
In case
Coupled with such tension with the audience, the shortening of this day “TOMMY” set is the best. After 1971, Fu who had avoided the stage performance in the same album unit received a big hit of the movie version and revived from this tour with the digest arrangement for the stage. It is a translation that made the audience of which day boiled, but if it represents “TOMMY” set of this day in one word, it is “tough”. Instead of the momentum of “TOMMY” that was in 1969 and 70 years, it is extremely hard and strong and the performance is terrible. Roger’s songs mentioned above are particularly spectacular, and the wild singing of “The Acid Queen” stands out. In the “Fiddle About” to be followed by that, Keith ‘s sickness has gone, he is singing in a dangerous condition. Still it is this day that the performance is not disturbed at all by the other three people.
Also at the “TOMMY” set the beginning of “Tommy’s Holiday Camp” was missing because I switched the tape after the end of “I’m Free”, but as a supplement to that, in the pro shot video here Familiar I used the voice of Houston performance of November 20. Of course it is a supplement from another performance, but it is nothing other than because the sound quality of other European and British sound sources was inferior. But I wonder if that editing is wrong if you hear this finish. It is very smoothly connected and it is adjusted with a natural finish that I do not notice in the feeling heard.

Strong performance continued as usual in the latter half of the live. When becoming “Summertime Blues”, John seems not to like the audiences’ uproar this time, and protests by replacing “speech” as “fuck the whistle” with the dialog part of the same song. It was an unusual scene that John always playing a furious bass baselessly expressly exposes such feelings. “Bargain” was a repertoire of only 75 years as a “BY NUMBERS” tour, but this is also a very strong performance evolved from around 71 years ago. The highest performances that all members of The Who got together all over the “TOMMY” set has been unfolded.
In this release, recording from the master cassette (thanks to the pitch was accurate from the beginning), recording the best recording of Europe 75 in the best condition suitable for press CD limited. The time when the decent title did not exist until now, the definitive version item without complaint that appeared finally. Please enjoy tasteful performance with wonderful sound quality. 75 Superb titles representing Europe are here!

★ High sound quality · First appearance sound source. It is from the master cassette. Best recording in Europe 75.

当時の最新かつ傑作アルバム「THE WHO BY NUMBERS」を引っ提げて行われたツアーは映画版「TOMMY」が大ヒットした相乗効果もあって実質的に一年にも及んだ、キース・ムーン存命時における最後のライブツアーでもありました。一見するとこの時期はアイテムが豊富な印象を受け、なおかつ良質な音源に恵まれている時期であるかのように思えます。ところが、アイテムのリリースが集中しているのは1976年レグのものばかり。実際10年近く前にリリースされたチャールトン、近年ではジャクソンビルにラーゴ、シアトルにウィニペグ、そして長いツアーを締めくくったトロントが昨年リリースされましたが、どれも76年のステージを捉えていたのです。ツアーの前半戦であった1975年レグに関しても過去にプロヴィデンスをリリースした実績がありましたが、それ以前のヨーロッパやイギリスの音源を当店がリリースしたことは一度もありません。
そもそも「BY NUMBERS」ツアーの序盤を収めたアイテムと言うのは極端に少なく、今から20年前に11月7日のルートヴィヒスハーフェン公演を収めた「BORIS THE SPIDER」という紙ジャケCDがあったのみ。これがまずまずのオーディエンス録音でピッチの狂いなどもあったことから、一部のマニアにしか評価されなかったというもの。75年のイギリスやヨーロッパ・ツアー自体は音源がトレーダー間に出回っていましたが、先の紙ジャケCDの件が証明したように、どれも音質が今一つなものばかり。

演奏は驚くほどオンなバランスで捉えられており、中でもキースの「踏みまくり」バスドラを始めとした彼のドラムの音が生々しく捉えられているという、フー・マニアにはたまらない録音状態。それに負けじと、全編を通して素晴らしい歌声を聞かせる絶好調のロジャーの存在感も絶妙なバランスで捉えられている。このツアーから、ザ・フーのお抱えエンジニアであるボブ・プリデンによってステージ上に積み上げられたスピーカーの一部をロジャーのボーカル・モニターに転用するPAシステムを開発。ザ・フー他のメンバーの爆音サウンドに惑わされずに歌い込めるシステムの威力が発揮され「Dreaming From The Waist」以降は文字通りロジャーの熱唱が冴え渡ります。

ただし、この日はショー開始直後からシュツッドガルトのオーディエンスが騒がしく、新曲「Squeeze Box」の途中からいよいようるさい。そして「Behind Blue Eyes」が終わるとしびれを切らしたピートが「いいかげん静かにしろ!一分でいいから黙ってみろ!ボトルを投げるのもやめるんだ、これから一個でも投げたら俺は帰るからな!」ときつーく叱っている。もっとも、フーのライブでピートが観客に向かって怒鳴ると言うのはそれほど珍しくない光景なのですが。さすがに効いたのか観客はみるみる大人しくなり、ピートも「よし、ありがとう」とすぐに落ち着きを取り戻しているから面白い。そんなピートの姿を頼もしく感じたのか、以降テーパーの近くでひたすら「ピート・タウンゼント!」と叫び続ける輩は苦笑モノ。

そうした観客とのテンションも相まって、この日の短縮「TOMMY」セットの出来は最高。1971年以降は同アルバム単位でのステージ演奏を避けていたフーが映画版の大ヒットを受け、ステージ用にダイジェスト・アレンジでこのツアーから復活。それがどの日の観客を沸かせた訳ですが、この日の「TOMMY」セットを一言で表すなら「強靭」。1969年や70年にあった「TOMMY」の勢いの代わりに、やたらと骨太でストロングな演奏が凄まじい。先のも触れたロジャーの歌は特に壮絶で、「The Acid Queen」のワイルドな歌いっぷりが際立ちます。それに続けて演奏されるべき「Fiddle About」ではキースの酔いが回ってしまったのか、彼が危うい調子で歌っています。それでもなお他の三人によって演奏が一切乱れないのがこの日らしい。
また「TOMMY」セットでは「I’m Free」終了後でテープをかけ替えたことから「Tommy’s Holiday Camp」の冒頭が欠損してしまったのですが、その補填として、ここでは敢えてプロショット映像でおなじみ11月20日のヒューストン公演の音声を使用。もちろん別公演からの補填となってしまう訳ですが、それは他のヨーロッパやイギリスの音源の音質が劣っていたからに他ならない。しかし、その編集が間違っていないことは、この仕上がりを聞いてもらえれば解るかと。極めてなめらかにつながっており、パッと聞いた感じでは気付かないほど自然な仕上がりでアジャストされているのです。

ライブ後半の相変わらず強靭な演奏が連発。「Summertime Blues」になると今度はジョンが観客の騒ぎを気に入らなかったようで、同曲の台詞パートで何と「fuck the whistle」と替え歌して抗議しています。いつも無表情に激烈ベースを弾くジョンがそうした感情を露わにするという珍しい場面でした。また「Bargain」は「BY NUMBERS」ツアーとしては75年だけのレパートリーでしたが、これまた71年の頃から進化した非常に強靭な演奏が圧巻。「TOMMY」セット以上にザ・フー全員が一丸となった最高の演奏が繰り広げられています。



Disc 1 (56:55)
1. Substitute 2. I Can’t Explain 3. Squeeze Box 4. Baba O’Riley 5. Behind Blue Eyes
6. Dreaming From The Waist 7. Boris The Spider 8. Amazing Journey 9. Sparks
10. The Acid Queen 11. Fiddle About 12. Pinball Wizard 13. I’m Free
14. Tommy’s Holiday Camp 15. We’re Not Gonna Take It

Disc 2 (36:34)
1. Summertime Blues 2. Bargain 3. My Generation 4. Naked Eye 5. Join Together
6. Won’t Get Fooled Again 7. 5.15

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