Who / Definitive Toronto 1976 / 2CD

Who / Definitive Toronto 1976 / 2CD / Wardour

Translated text:
Live at Maple Leaf Gardens, Toronto, Ontario, Canada 21st October 1976

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In 1976, Keith Moon was the year when The Foo’s last live tour at the time of life. As for the sound source of this year, the JEMS group continues unearthing a great quality audience recording, last year we have released superb sound sources such as Jacksonville, Seattle and Winnipeg performances on limited press CD . Under such circumstances there is no doubt that the momentum of reassessment of the factual last tour has increased. As evidence for that, “KEITH’S FINAL LIVE: TORONTO 1976” which was released six years ago is also Sold Out recently. Not only was the final day of the 76-year tour, but also the valuation that contained the final stage in the original live normal live was re-evaluated.
Of course, as there is a video recording live set for the movie “THE KIDS ARE ALRIGHT”, it is a translation that has become a genuinest last live for Keith, but this is a stage of special nature, It is appropriate for Toronto to call it the final show for 76 years. Because it is such a precious stage, the title “LAST STAND WITH KEITH MOON” based on the audience recording of the Toronto performance that had been circulating since long ago was released earlier.
Although the sound source used there also was not bad sound quality, the coarse sound quality and the recording condition that the hall echo of the maple · leaf garden which is the venue is strengthened was a difficult point. However, the new audience recording by JEMS excavation which was used for “KEITH ‘S FINAL LIVE: TORONTO 1976” (hereinafter referred to as the “pre-launch board”) has not only been greatly alleviated this point, Things that were becoming easier to hear abruptly by. It was the already launched board that put it on the press’ CD.

However, recently the upper version of the same sound appeared suddenly, so it was said that maniacs around the world were surprised. The new copy offered by the taper fulfilled the quality up even more than the version used for the original launch board. Although it seems that if you already have a pre-launch board, this tone source is difficult to connect to the microphone from “I Can not Explain” to “Substitute”, going to and from the stereo and monaural I will. This problem will not change this time as well. Among them, the rhythm was supposed to be strange because the whole place where noisy was found in the former 2:22 had been cut entirely in the earlier stage, but this time we will port that part from the rest of the performance this time Adjust so that you can hear smoothly by doing.
However what to say noteworthy is the upper feeling that you can understand by listening. The difference is obvious at a glance compared to listening after “My Wife” with stabilized recording. It should be surprised by the clearness as if the mist that was stagnant as a sun was clear, or the skin was removed. If you listen to this version, it will be reflected in the sound quality with the already-to-be-printed board being muddy and lacking in thickness. This is not a result of adding hands with equalization etc, but it is a tape in a better state to the last, but it is no doubt that it is an upper feeling of late. The 76 year tour of The Who is a very high-level situation where high-quality audience recordings are lining up rows thanks to the excavation by the JEMS group mentioned earlier, but this excavation also brings Toronto to its top position It was promoted to a name sound source to dig into.
“LAST STAND WITH KEITH MOON” Echoes like sound sources Echo excessive sound quality has already surpassed even already launched, it will fade away in front of this upper version. One of the pleasures of listening to the rare sound source will be improvement of such sound quality. The upper version of the sound source which I’ve used to hearing so far really excites us. Not only was the outlook much better than we mentioned earlier, but in this version freed from feeling of muggy, it also raises the warmy feel at a stroke.

Such upper topics, as a result it will also evolve into a document that will convey the wonderfulness of the day more realistically that it was decided to end the beauty of the end in the usual live tour at Keith’s life It is getting. Keith ‘s drumming which was intense enough to lose the word was also caught in “SEATTLE 1976” released last year, but this upper version also attracts his supernatural drumming wonderfully is attractive. It applies to other sound sources as long as Keith’s drum sounds good, but his drumming of the day is a perfect burning play suitable for the final day of the tour. On the contrary it is becoming a complete leading role of this stage. It is not only fierce, but also exquisite rhythm like “Baba O’Riley” late at the end. It is like Level that Keith wanted to caution himself that he realized that this day was the last live.
More than that, it is extremely rare development in the latter part of the live that is famous for the performance of this day. As usual it will end with an expansion sandwiching “Join Together” with “My Generation”, but Pete starts playing long ad-lib from there. The phrase “Hu Fu, Hu Fu Fu” was started suddenly here. Yes, the pattern that will become “Who Are You” later. From here Pete repeats the word “I Gotta Know, Who Are You” and it can be said that the draft of the song was shown in 1976 as a valuable scene. Keith says that the hint of the song which will be the title of the last album at the time of his life alive was displayed with Sarari at the last concert!
And, as we have mentioned, the upper version release of this time is literally called “Definitive”, and it has been reborn into a state that makes it easier to hear as you hear it. As it was originally a fine audience recording, let’s assure that it is a release that is confidently recommended to all The Who Mania if you feel the upper feeling so far. Play a historic day with a real, rich immersive presence and on-sound image. This is the last day of Keig’s life last tour.

1976年はキース・ムーン存命時におけるザ・フー最後のライブ・ツアーが行われた年。この一年の音源に関してはJEMSグループが素晴らしいクオリティのオーディエンス録音を発掘し続けてくれており、昨年はジャクソンビル、シアトル、そしてウィニペグ公演といった極上音源を限定のプレスCDにてリリースしてまいりました。そうした状況の中でザ・フー事実上のラスト・ツアー再評価の機運が高まって来たことに疑いの余地はありません。その証拠として6年前にリリースされた「KEITH’S FINAL LIVE: TORONTO 1976」までもが先頃Sold Out。76年ツアーの最終日というだけでなく、オリジナル・ザ・フー最後の通常ライブにおけるファイナル・ステージを収めた貴重さも再評価された結果でした。
もちろん映画「THE KIDS ARE ALRIGHT」用にセッティングされた映像収録ライブがある以上、そちらがキースにとって正真正銘のラスト・ライブとなった訳ですが、これは特殊な性質のステージであり、演奏内容の面から見ても76年トロントの方がファイナル・ショーと呼ぶに相応しい。そんな貴重なステージですので、昔から出回っていたトロント公演のオーディエンス録音を元にしたタイトル「LAST STAND WITH KEITH MOON」が早くからリリースされていたものです。
そちらに使われた音源も悪くない音質ではあったものの、粗い音質と会場であるメイプル・リーフ・ガーデンのホールエコーが強めという録音状態が難点だったのです。しかし「KEITH’S FINAL LIVE: TORONTO 1976」(以下「既発盤と称します」)に使われたJEMS発掘による新たなオーディエンス録音はこの点が大幅に緩和されていただけでなく、それ以上にオンな音像によって俄然聞きやすくなっていたもの。それをプレスのCDに収めたのが既発盤でした。

ところが最近になって同じ音源のアッパー版が突如として登場ものだから、世界中のマニアが驚かされたという。テーパーによって提供された新たなコピーは既発盤に使われたバージョンをも上回るクオリティ・アップを果たしていたのです。既発盤をお持ちの方ならお分かりかと思われますが、本音源は「I Can’t Explain」から「Substitute」にかけてテーパーがマイクの接続に難儀してしまい、ステレオとモノラルの間を右往左往してしまいます。この問題は今回も変わりません。中でも前者の2:22辺りで雑音の入る箇所は既発盤において丸ごとカットされてしまったことからリズムがおかしなことになっていたのですが、今回はその部分を演奏の他の部分から移植することによってなめらかに聞き通せるようアジャスト。
しかし何と言っても特筆すべきは一聴して解るほどのアッパー感。録音が安定した「My Wife」以降で聞き比べてみれば違いは一目瞭然。薄っすらと立ち込めていた霧が晴れた、あるいは薄皮が取れたかのようなクリアネスに驚かされるはず。今回のバージョンを聞いてしまうと、既発盤が濁って厚みを欠いた音質に映ってしまうほど。これはイコライズなどで手を加えた結果ではなく、あくまでより良い状態のテープであるが故のアッパー感であることは間違いありません。ザ・フーの76年ツアーは先にも触れたJEMSグループによる発掘のおかげで軒並み上質なオーディエンス録音が並んだ非常にレベルの高い状況となっていますが、今回の発掘によってトロントもその上位へと食い込む名音源にまで昇格したのです。
「LAST STAND WITH KEITH MOON」音源のようにざらついてエコー過剰な音質はとっくに凌駕していた既発盤ですら、今回のアッパー版の前では色褪せて聞こえてしまう。レア音源を聞く楽しみの一つには、そうした音質の向上が挙げられるでしょう。これまで聞き慣れてきた音源のアッパー版というのは本当にワクワクさせてくれます。先に触れたように見通しがずっと良くなっただけでなく、こもり感から解放された今回のバージョンではウォーミーな感触も一気にアップ。

このようなアッパーぶり、それは結果としてキース存命時ザ・フー通常のライブ・ツアーにおける有終の美を飾ることになってしまった一日の素晴らしさをよりリアルに伝えてくれるドキュメントへと進化することにもなっています。昨年リリースした「SEATTLE 1976」でも言葉を失うほど強烈なキースのドラミングが捉えられていましたが、今回のアッパー版もまた彼の超絶ドラミングを見事に捉えてくれているのが魅力。キースのドラムが良く聞こえるというだけなら他の音源にも当てはまるのですが、この日の彼のドラミングはツアー最終日に相応しい完全燃焼プレイ。それどころかこのステージの完全なる主役と化している。ただ激しいだけでなく「Baba O’Riley」終盤のような正確無比なリズムも圧巻。それはまるでキース自身この日がラスト・ライブであることを悟っていたのではと勘繰りたくなってしまうレベル。
それ以上にこの日の演奏で有名なのがライブ後半の極めてレアな展開。いつもなら「Join Together」を「My Generation」でサンドイッチした展開で終わる訳ですが、そこからピートが長いアドリブを弾き始めます。ここで不意に歌い始めたのが「フッフー、フッフー」というフレーズ。そう、後の「Who Are You」となるパターン。ここからさらにピートは「I Gotta Know, Who Are You」という言葉を繰り返しており、1976年の時点で同曲の草稿が披露された貴重な場面だと言えるでしょう。キース存命時のラスト・アルバムのタイトルとなる曲のヒントがラスト・コンサートでサラリと披露されていたとは!


Disc 1 (45:03)
1. I Can’t Explain 2. Substitute 3. My Wife 4. Baba O’Riley 5. Squeeze Box
6. Behind Blue Eyes 7. Dreaming From the Waist 8. Magic Bus

Disc 2 (64:08)
1. Introduction of Tommy 2. Amazing Journey 3. Sparks 4. The Acid Queen 5. Fiddle About
6. Pinball Wizard 7. I’m Free 8. Tommy’s Holiday Camp 9. We’re Not Gonna Take It
10. Seem Me Feel Me 11. Summertime Blues 12. My Generation 13. Join Together
14. My Generation Blues 15. Who Are You 16. Won’t Get Fooled Again

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


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