Who / Seattle 1976 / 2CD

Who / Seattle 1976 / 2CD / Non Label

Translated Text:
Live at Seattle Center Coliseum, Seattle, WA. USA 25th March 1976

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The Who The 1976 US Tour is not only the time when JEMS is most proud of excavation, but also the last live tour at Keith Moon’s life, and more than anything, Fu has been very popular in America. Even in the past few years JEMS has released Lago 2 and Jacksonville on the net and released them as “LARGO 1976” and “JACKSONVILLE 1976”, especially as for the latter, . But within six months from Jacksonville JEMS made a new 1976 American sound source available. This time is Seattle on 25th March. Moreover, the venue is familiar with ZEP Seattle Center Coliseum. Recent JEMS excavation had a feeling of concentrating on the leg of August, but the items from the leg of March that was the start point of the American tour in 1976 was the first time in a long time.
Speaking of the stage that caught the stage in March, the Anaheim performance of ‘WHO’S ON FIRST’ which reprinted the name board analog at a show a few days before Seattle with a precise remaster, and now it has become Sold Out for a long time There is “BOSTON 1976” of Dan · Lumpin ski recording, and it will become March release tour sound release since those days.

Although it is Seattle sound source this time, until now, B class sound quality audience recording has been circulating among traders, and it has existed not to get much attention. There is only JEMS ‘s excavation this time and it is a new source boasting excellently excellent quality while monaural recording, and there is an atmosphere similar to Jacksonville in the tendency of sound quality, Boasts a more direct texture and a nearby sound image.
The most attractive point of this recording is that it captures the greatest Keith Moon’s drumming with a powerful texture. It is not a level of playing backing performance but the appearance that drumming that fills the space of that space echoes through the Center · Coliseum is a masterpiece. To tell the truth, the original sound source had a bunch of John ‘s bass mixed with it and bass brought about the blurring of the whole sound image, but as a result of applying equalization to hold down the limitation of this limited press CD, Succeeded to make the performance and Roger ‘s vocals more embossed while Keith’ s drumming power was intact. Even so, it guarantees absolutely comfortable finish that keeps very good sound quality and naturalness.
Besides that, the original sound source is low and further up and down movements are perfectly adjusted for the pitch variation seen throughout. Incidentally, in Jacksonville there was a minus point that the finale’s “Will not Get Fooled Again” began and the recording ended soon, but this time the tape ended in the second half of “See Me Feel Me” Summertime Blues “is not recorded and the situation that recording starts again from the second half of” My Generation Blues “will be missed.

However, it is the best performance content throughout the day that is overwhelmed by such deficits. While the previous Anaheim was rated as “Nice Show” at the mania site “BABA O’RILEY’S BOOTLEG SITE”, the Seattle Center Colosseum this time was the first time to be “Great Show”. Of course not only the secret but also the best drumming throughout the entire keith which I mentioned earlier. The tour in March began with a big blunder that he fainted at the stage on the first day of tour tour, which I touched earlier, as he got drunken and went upstage, with just two songs. That’s why drumming of Keith here is awesome as it awakens, and excellent sharpness of drumming is clear.
My first peak on this day to prove the best condition is John ‘s song “My Wife”. In the interlude, when Pete fuels Keith with a cord-cutting solo which is different from usual, he also responded to it and heard scenes where they caught up in a song with a climax that they had climbed up with a passage together.

Another factor which made the show of this day a great thing, it is a wonderful performance of short version “TOMMY” set which is a specialty from 75 to 76 years old. “TOMMY” which originally gained popularity in the United States revived from the previous year as a shortened version receiving the screening and hit of the movie version. The good part of the March tour is that you are cautiously playing this shortened “TOMMY” set.
“Whirlwind Tour” performed only four performances In Jacksonville and Lago which was the sound source from the leg of August, it seems that Pete who is the author is beginning to get tired of having to play “TOMMY” again It is transmitted. For example, the part he sings at “Acid Queen” is singing much more seriously this time, and when I’m Free on the first day of Lago is reached, Pete moves forward (“How can we follow? “I did not rely on the dialogue as much as I could). Seattle’s abbreviated full of such ambition and vitality “TOMMY” to further boost the set is still Keith. Rather it’s interesting to hear that rare acting that he is not going to rage too much in “Fiddle About” of this day whether he was absorbed too much in the drum.
Although it is monaural recording, it does not depend on the stereo lumpin ski quality, but the superb audience recording that gives a vivid performance of Fu ‘s high and voltage that Mr. heavily sound quality starts from Keith. There is no doubt that a new masterpiece of the 76th year tour was born here. Still it was a great performance anyway (although it seems that Roger had been tinkering a cold, a singing enthusiastic seldom that such a swing is not felt), this is a masterpiece of a masterpiece without multiplication!

★ Fixed the pitch which was late and crazy randomly.

ザ・フー1976年アメリカ・ツアーはJEMSが発掘をもっとも得意とする時期なだけでなく、キース・ムーン存命時における最後のライブ・ツアー、そして何よりもフーがアメリカでの人気を極めた一年。ここ数年の間でもJEMSはラーゴ二公演とジャクソンビルをネット上に公開しており、それぞれを「LARGO 1976」と「JACKSONVILLE 1976」としてリリースしており、特に後者の方は記憶に新しいところかと。しかしジャクソンビルから半年も経たない内にJEMSが新たな1976アメリカ音源を公開してくれたのです。今回は3月25日のシアトル。しかも会場はZEPでおなじみシアトル・センター・コロシアム。最近のJEMS発掘は8月のレグに集中していた感がありましたが、76年アメリカ・ツアーにおけるスタート地点であった3月のレグからのアイテムは久しぶりのリリース。
3月のステージを捉えたアイテムと言えばシアトルの数日前のショーで名盤アナログを緻密なリマスターで復刻した「WHO’S ON FIRST」のアナハイム公演、さらに今となってはSold Outとなって久しいダン・ランピンスキー録音の「BOSTON 1976」があり、それら以来の3月ツアー音源リリースとなるのです。

それだけでなく元音源は低めな上でさらに上下動が随所で見られたピッチの変動を完璧にアジャスト。ちなみにジャクソンビルではフィナーレの「Won’t Get Fooled Again」が始まってすぐに録音が終わってしまうというマイナス・ポイントがありましたが、今回は「See Me Feel Me」の後半でテープが終わってしまい「Summertime Blues」が未収録、「My Generation Blues」の後半から再度録音が始まるという状態が惜しまれます。

ところが、そうした欠損に目をつぶって余りあるのがこの日を通しての最高な演奏内容。マニア・サイト「BABA O’RILEY’S BOOTLEG SITE」において先のアナハイムが「Nice Show」というレーティングだったのに対し、今回のシアトル・センター・コロシアムは「Great Show」という絶賛ぶり。その秘訣はもちろん、先に触れたキースの全編を通しての絶好調なドラミング。3月のツアーはこれまた先に触れたツアー初日のボストンにて彼が酩酊してステージに上がった挙句、わずか二曲で卒倒という大失態から始まってしまった。それだけに、ここでのキースのドラミングは覚醒したかのごとく切れ味抜群なドラミングが冴え渡っている。
さらに絶好調ぶりを証明してくれるこの日最初のピークがジョンの歌う「My Wife」。間奏においてピートがいつもと違うコード・カッティングのソロでキースを煽ると彼もそれに応戦し、二人が一緒のパッセージで登り詰めた挙句にピシッと歌に戻る場面は聞いていて鳥肌が立つほど。

わずか四公演だけ行われた「Whirlwind Tour」こと8月のレグからの音源だったジャクソンビルやラーゴでは作者であるピートが再び「TOMMY」を演奏しなければならないことに飽き始めているであろう様子が伝わってくるのです。例えば「Acid Queen」で彼が歌うパートなどは今回の方がずっと真剣に歌っていますし、ラーゴ初日の「I’m Free」に至ってはエンディングでピートがずっこけてしまう(「How can we follow?」の台詞を何とも頼りない声で発した)ほどでした。そんな覇気と活力に溢れたシアトルの短縮「TOMMY」セットをさらに盛り上げるのは、やっぱりキース。むしろドラムに没頭しすぎたのか、この日の「Fiddle About」では彼があまり暴れないという珍しい演技も聞かれるから面白い。

Disc 1 (45:24)
1. Intro 2. I Can’t Explain 3. Substitute 4. My Wife 5. Baba O’Riley
6. Squeeze Box 7. Behind Blue Eyes 8. Dreaming From the Waist 9. Magic Bus

Disc 2 (39:36)
1. MC 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. See Me, Feel Me
11. My Generation 12. Won’t Get Fooled Again




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