Who / Kilburn 1977 / 1CD

Who/ Kilburn 1977 / 1CD / Non Label

Translated Text:
Live at Kilburn Gaumont State, London, UK 15th December 1977 STEREO SBD

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This time we will release not only the London Coliseum but also the stage design at the Kilburn Theater which we should also say as Honbun will be released on limited press CD. Fu of 1969 and 70 did vigorous live activities under the big hit of the album “TOMMY”, but this time, in response to the movie version “TOMMY” hit a big hit, from 1975 to 1976 Fu has done a large-scale tour centered on the United States again and it is a great success. However, unlike in 1969, Fu, who had become a big band all the time, will stop group activities after 1977 when the tour ends.
As a result, although the achievement of full-scale tour of more than 76 years at the time of Keith Moon’s survival did not come true, production of The Who’s history movie “THE KIDS ARE ALRIGHT” which the project had been raising since around 1975 The full-fledged start from 77 years. However, while looking back over the history of Fu, recording of the latest live scene is also considered because it was an active band to the last. It was taken at the Kilburne Theater on December 15, when the year was also pressed for execution.
However, this is not a normal gig, it was a special stage on the premise of movie recording, and above all, the stage as The Who has been in almost one year (since our release “DEFINITIVE TORONTO 1976”) It will be a show that the members can not convince because the bad conditions of the conditions overlap. After all, the picture of this time entered the storage, and after about half a year we borrowed Shepperton Studio for movies again and recorded gig again, and it was happily adopted as a movie.
Since information was scarce at that time, when I looked at “THE KIDS ARE ALRIGHT” that was released, the costume of Keith was different, yet several cuts of live images of similar settings were inserted, I could guess that gigs were being taken. It is now the case that it was Kilburn, but the main part of the movie is Take Shepperton Studio to the last. The most famous scene from the Kilburn seen there was not a performance scene, but Pete’s “MC trying to take away the guitar from me” MC scene.

The fact that another gig recording was done before shooting at Shepperton Studio later becomes clear by the appearance of soundboard recording items like “EXPLODING DRUMMER” which captured the pattern in Kilburn. Outgoing sound board It is also convinced that coarse sound quality that tends to be recorded, and even photographing gigs and other interactions that were extended between songs, and sometimes even Gudaguda interactions, etc. were taken as much as possible It was place.
Ultimately Kilburn, like London Coliseum, continues to receive handling of officials because of “translated live video”, but the full length version of the video was finally released ten years ago. The images and sounds restored with the latest technology were amazing and were enough to alter the distracting impression received from past spill sound board recordings. On the contrary, the sound quality of stereo sound board recording is too much to release as the live album that captured the only stage of The Who 1977. That is the translation of this release.

It is true that the early Keith drumming makes me feel blank, and I can see scenes that do not mesh with Pete and John anymore. However, awakening in the middle of “Baba O’Riley”, since then “Dreaming From The Waist” etc. explicitly drumming unique to Keith Moon exploded. As expected, even if it does not reach to the region of hyper / drumming up to the year of 1976, the overwhelming presence is still alive even if listening with just voice. Keisu in his later years is undergoing aging with the vigorous momentum, and it is about half a year from Kilburn to Shepperton to understand the weakness of the looks, but actually it was still kept youthful on the play side as Kilburn I guess.
However, if you think Keith has recovered, this time Pete will be out of sound at the ending of “Pinball Wizard”, and in the next “I’m Free” it will be rare that John will get out of the sound. Moreover, even to “Tommy’s Holiday Camp” it is even as though it played with the thought of the place. It is speculated that these factors overlapped and it was inferred that Kilburn was forced into the warehouse, but in short the majority of the members as well as Keith could not hide the blank of the stage performance as The Who .
Nonetheless, a powerful performance that suppresses such wobble with a force labor is transmitted with a great sound quality. Watching the scene of the last “Will not Get Fooled Again”, Pete moving strangely and strangely is more impressive than Shepperton’s, but it may have been a frustration that I could not play as I expected. Keep in touch if there is a momentum even with this pushing. And overall mixing is also wonderful, especially the texture of the sound of John ‘s bass is really real. Although it may be a fact that there are not many shows that are unwilling to do from the principals, Keith is still fine, yet we can reconfirm that the fu is the gig flew away!

結果としてキース・ムーンの存命時に76年以上の本格的なツアーが実現することは叶わなかったのですが、75年頃から企画が持ち上がっていたザ・フーのヒストリー映画「THE KIDS ARE ALRIGHT」の制作が77年から本格的スタート。しかしフーの歴史を振り返る一方、あくまで現役バンドであったことから、最新のライブ・シーンの収録も検討されます。それが実行に移されたのが年も押し迫った12月15日、キルバーン・シアターでの撮影でした。
ところがこれは通常のギグではなく、あくまで映画収録を前提とした特殊なステージであったこと、そして何よりもザ・フーとしてのステージがほぼ一年ぶり(当店リリース「DEFINITIVE TORONTO 1976」以来)であったという条件の悪さが重なってしまい、メンバーが納得できないショーとなってしまいます。結局この時の映像はお蔵入りとなり、約半年後に今度は映画用のシェパートン・スタジオを借りて再度ギグが収録、それがめでたく映画に採用となりました。
当時は情報が乏しかったものですから、公開された「THE KIDS ARE ALRIGHT」を観てみるとキースの衣装が違い、それでいて似たようなセッティングのライブ映像のカットがいくつか挿入されていた事で複数のギグが撮影されていたことが推測できたものです。今となってはそれがキルバーンだった訳ですが、映画のメインはあくまでシェパートン・スタジオのテイク。そこで見られたキルバーンからの映像でもっとも有名な場面は演奏シーンではなく、ピートの「俺からギターを奪ってみろよ」MCシーンでした。

後にシェパートン・スタジオでの撮影の前に別のギグ収録が行われていたことは、キルバーンでの模様を捉えた「EXPLODING DRUMMER」のようなサウンドボード録音アイテムの登場によって明らかとなります。流出サウンドボード録音にありがちな粗い音質、さらには撮影用ギグということから曲間で間延し、時にはグダグダにすら感じられたやりとりなど、なるほど撮影されておきながらお蔵入りになってしまったのも納得といったところでした。

確かにキース序盤のドラミングはブランクを感じさせ、ピートやジョンと今一つ噛み合わない場面が見られるのは事実。ところが「Baba O’Riley」の途中で覚醒し、以降「Dreaming From The Waist」などは正にキース・ムーンならではのドラミングが炸裂。さすがに76年までのハイパー・ドラミングの域にまでは及ばなくとも、こうして音声だけで聞いても圧倒的な存在感は健在。晩年のキースは猛烈な勢いで老化が進行しており、キルバーンからシェパートンまでの約半年足らずでもルックスの衰えが解るくらいなのですが、実はプレイ面においてもまだまだ若々しさを保っていたのがキルバーンでしょう。
ところがキースが調子を取り戻したかと思えば、今度は「Pinball Wizard」のエンディングではピートが音を外し、次の「I’m Free」では珍しくジョンが音を外すというハプニングも見られます。さらに「Tommy’s Holiday Camp」に至ってはその場の思い付きで演奏したかのようですらある。こうした要素が重なってキルバーンがお蔵入りに追い込まれたのだと推測されますが、要はキースだけでなくメンバーのほとんどがザ・フーとしてのステージ演奏のブランクを隠せなかったということではないかと。
それでもなお、そうしたふらつきを力業で抑え込むような迫力ある演奏が素晴らしい音質でひしひしと伝わってくる。最後の「Won’t Get Fooled Again」の場面を観ると、シェパートンの時よりも異様に激しく動くピートが印象的ですが、思うように演奏できなかった苛立ちを表わしたのかもしれません。この強引ですらある勢いがキース存命時ならでは。そして全体のミキシングがまた素晴らしく、特にジョンのベースの音の質感が実にリアル。本人たちからすると不本意な部分も少なくないショーであることは事実かもしれませんが、まだまだキースが元気、それでいてザ・フーが飛ばしまくったギグであることを再確認させてくれます!


1. Intro. 2. I Can’t Explain 3. Substitute 4. Baba O’Riley 5. My Wife
6. Behind Blue Eyes 7. Dreaming From the Waist 8. Pinball Wizard
9. I’m Free 10. Tommy’s Holiday Camp 11. Summertime Blues 12. Shakin’ All Over
13. My Generation / Join Together 14. Who Are You 15. Won’t Get Fooled Again


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