Who / Definitive Swansea 1976 / 1CD

Who / Definitive Swansea 1976 / 1CD / Wardour

Live At Swansea Football Ground, Swansea Wales UK 12th June 1976.

Click Image To Enlarge

Released in 2017, sold out in a short period of time, and requested for reoccurrence, the longest board of the 1976 Swansea performance stereo sound board has appeared in the long-awaited remaster upper version!

In 1976, the year of glory for The Who, he is touring at a huge stadium not only in the United States but also in his native England, returning to England after traveling around Europe from the end of May to mid June. The stadium concert at Swansea concludes the tour. Above all, the three performances in England were called “The Who Put The Boot In” tour, which concludes the tour.

The Swansea show was recorded using the Ronnie Lane-owned mobile unit’s 24-track recorder, which was an indispensable recording device for The Who in the 1970s, and Glyn Johns, who produced the group’s album. Has been mixed by and the excerpts from the concert are being broadcast on the radio. As a result, a lot of items will be created, but I wonder if LP’s “LIVE AT SWANSEA JUNE 1976” and “BACKSTAGE PASS” are the main items.
Since it is such a sound source, even though it was officially kept being put out in small amounts with bonuses such as “THIRTY YEARS OF MAXIMUM R&B” and “BY NUMBERS”, the longest sound source is still called the CD version of the previous radio broadcast “WHO The situation in which “PUT A BETTER BOOT IN 1976” is said to be the best continues. It’s not surprising that 90’s CD items still retain their value, but for some reason the official is in a small state, and in addition, the opening’I Can’t Explain’ and’Substitute’ cut by broadcasting were added. Moreover, the excavation on the sound board of “Magic Bus” has not been realized.
Despite that, in a small official situation, “VIEW FROM A BACKSTAGE PASS”, which was released only on the site 10 years ago, contained several songs with a new mix from Swansea’s recording. Moreover, it should be noted that the final stage of the incomplete “TOMMY” set (recording up to Pete’s “How Can We Follow?” dialogue) on the radio sound source can now be heard in perfect condition. In other words, if this is combined with a radio sound source, the complete recording of the “TOMMY” set of the day will be realized. That was the trigger for the release of the previous edition of “SWANSEA 1976”.

On the other hand, the radio sound source has a strange song order that the “TOMMY” set will be broadcast in the first half, instead of the big hit of the movie version at that time, and instead the songs at the beginning and end of the show will be broadcast together in the second half What was supposed to be. As a result, it was recorded in a song order that was far from the actual concert from the LP era, and it was inherited even to CD items. So, this time, not only is it the longest version that makes full use of two sound sources, but it is the best version that was unlikely until now that it was recorded in the correct song order for the first time!
The radio broadcaster had the echo processing that Grin Johns is good at on their vocals, while “VIEW FROM A BACKSTAGE PASS” gave it a more powerful and more modern finish. Fortunately, however, both sound sources have high-quality sound levels, so there is surprisingly little discomfort when combining them. Rather, there is an overwhelming sense of unity that can be called a superb live album that you can listen to all at once. On the radio, the scene where the songs are switched (Roger’s “Do you think it’s alright?” dialogue) was cut off, so if you can hear “Pinball Wizard” from “Fiddle About” without stress, the importance of editing this time Should be understood.

And the reason why the Swansea sound source has become so standard in 1976 is that not only the sound quality of the sound board is wonderful, but also the wonderfulness of the performance is outstanding. Especially, the performance of the “TOMMY” set, which had been treated so much as to be broadcasted in the first half of the broadcast, was perfect and flawless. During this set, Keith’s screaming “Ahhhhhhh!”, who was excited by drumming from the left channel many times, was picked up from the microphone for the drum and faintly heard was the charm of 24-track recording, which he rides. You can also see how you are riding.
By just taking Keith’s screams as an example, you can see how the band was in perfect condition. On the contrary, “My Generation” even captures the appearance of John laughing while making a chorus, which makes me smile. It can be said that the sound of the explosive band showing the ample performance in front of the large audience of Swansea was recorded clearly, which is also a big attraction of this sound source.
And the extraordinary play of John’s bass play is ubiquitous, and Pete supports it with a guitar, an ensemble strangely different from other bands. This is the charm of The Who, and it is the Swansea sound source that captured the performance at its peak with the best sound quality. Its longest and best version is released this time. It’s also fascinating to have an easy-to-listen live album on a single disc. This is the definitive version that should be heard by all rock fans, not just the maniacs of The Who.

(Remastered memo)
★It is a sound source that combines multiple sources with different sound quality and does not need to do anything because it has high sound quality, but it has suppressed the part of the mid-low range and relatively eliminated it. Although it is a range of fine adjustment, it has a clearer sound.


ザ・フーにとって栄光の一年となった76年はアメリカだけでなく母国イギリスでも巨大なスタジアムでのツアーを敢行しており、5月末から6月中旬にかけておこなわれたヨーロッパを回ってイギリスに戻る行程のツアーを締めくくったのがスワンシーでのスタジアム・コンサートだったのです。中でもイギリスでの三公演は「The Who Put The Boot In」ツアーと名打たれており、その締めくくりとなりました。

スワンシーのショーは70年代のザ・フーにとって欠かせないレコーディング・デバイスだったロニー・レイン所有のモービル・ユニットの24トラック・レコーダーを使って録音された上、グループのアルバムをプロデュースしてきたグリン・ジョンズによってミキシングが施され、コンサートからの抜粋がラジオで放送されています。それが結果として多数のアイテムを生み出すことになるのですが、LP「LIVE AT SWANSEA JUNE 1976」や「BACKSTAGE PASS」辺りが主なアイテムに挙げられるかと。
それほどの音源ですので、オフィシャルでも「THIRTY YEARS OF MAXIMUM R&B」や「BY NUMBERS」のボーナスなどで小出しに出され続けていましたが、未だに最長音源は先のラジオ放送のCD版と呼ぶべき「WHO PUT A BETTER BOOT IN 1976」がベストと言う状況が延々と続いています。未だに90年代のCDアイテムが価値を保っているという点には驚きを禁じ得ませんが、何しろオフィシャルは小出し状態、おまけに放送でカットされたオープニングの「I Can’t Explain」と「Substitute」、さらに「Magic Bus」のサウンドボードでの発掘が叶わないままとなっています。
それでも小出しなオフィシャル状況において、今から10年前にサイトだけでリリースされた「VIEW FROM A BACKSTAGE PASS」にはスワンシーの録音から新たなミックスを施された数曲が収録されていたのです。しかも注目すべきは、ラジオ音源で不完全だった「TOMMY」セット(ピートの「How Can We Follow?」台詞までの収録)の終盤が完全な状態で聞けるようになったということ。つまりコレとラジオ音源を組み合わせれば当日の「TOMMY」セットの完全収録が実現するという訳です。それが前回盤「SWANSEA 1976」リリースのきっかけでした。

ラジオ放送の方はいかにもグリン・ジョンズが得意とするエコー処理がボーカルに施されていた一方、「VIEW FROM A BACKSTAGE PASS」ではずっしりとした迫力のある、よりモダンな仕上がりとなっています。しかし幸いにも二つの音源はどちらも音質レベルが高品位ですので、それらを組み合わせた違和感が驚くほど少ない。むしろ一気に聞き通してしまう極上のライブアルバムだと呼べるほど見事な統一感が圧倒的ですらある。ラジオでは曲が切り替わる場面(ロジャーの「Do you think it’s alright?」台詞」が途切れてしまっていた「Fiddle About」から「Pinball Wizard」もストレスなく聞けてしまうとくれば、今回の編集の重要さが解ってもらえるはず。

キースの雄叫びを例に挙げただけでも、いかにバンドがパーフェクトなコンディションにあったかが伺い知れるというもの。それどころか「My Generation」ではコーラスをしながら笑ってしまうジョンの姿まで捉えられているのだから微笑ましい。爆発的な勢いのバンドがスワンシーの大観衆を前に余裕たっぷりな演奏を見せつける様子が克明に記録されていたこと、それもこの音源の大きな魅力だと言えるでしょう。


1. My Wife
2. Baba O’Riley
3. Squeeze Box
4. Behind Blue Eyes
5. Dreaming From The Waist
6. MC
7. Amazing Journey
8. Sparks
9. The Acid Queen
10. Fiddle About
11. Pinball Wizard
12. I’m Free
13. Tommy’s Holiday Camp
14. We’re Not Gonna Take It
15. Listening to You
16. Summertime Blues
17. My Generation / Join Together / My Generation Blues
18. Won’t Get Fooled Again

Roger Daltrey – Vocals, Harmonica
Pete Townshend – Guitar, Vocals
John Entwistle – Bass, Vocals
Keith Moon – Drums, Vocals



Wardour 426

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.