Who / Lifehouse Live Outtakes & Rehearsals / 2CD

Who / Lifehouse Live Outtakes & Rehearsals / 2CD / Wardour

Live At Young Vic Theater London, UK 26th April 1971 & Record Plant, New York, NY USA 16th-18th March 1971. Stereo SBD

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The project “LIFE HOUSE”, which was planned by Pete Townsend as an ambitious work following the blockbuster “TOMMY”, was not understood by not only the staff around the band but also the band members due to the difficulty of the story, and it was not integrated as a work as The Who It was a frustrated and unlucky project. There is also the reality that, like Brian Wilson’s “SMILE,” he was too absorbed in the understanding and cooperation of the people around him. However, unlike “SMILE” where the album was not released even though a huge amount of session sound source was left, “LIFE HOUSE” has limited sources as The Who except the demo made by Pete. In the first place, it was very early from the idea of ​​the project to the failure.
Some of the sound sources produced in such a short period are now covered in the deluxe edition of “WHO’S NEXT,” but the 2005 masterpiece “YOUNG VIC REHEAR SALS” is a compilation of rare sound sources that cannot be heard there. It was a compilation of the live main part of the Young Big Theater and more valuable rehearsal sound sources that cannot be heard in the Deluxe Edition. It was sold out now, let alone released 15 years ago, a new culmination awaited among enthusiasts.
Therefore, this work will be released this time, but the sound source that was the base is digitized again from a cassette owned by a person who is not even on the net. Therefore, it is not the reuse of the sound source for “YOUNG VIC REHEAR SALS” (hereinafter referred to as “existing board”). As evidence of this, it is considered that the existing board obtained the original rehearsal sound source on CD-R, and there was evidence that the gap noise between songs that occurred at that time was pinched. For example, just before “Bony Moronie” begins, Pete is feeding back the guitar, and there is a slight skip (cut). However, since the sound source this time was recorded from the original cassette, there is no such cut at all.
Furthermore, in the already-released board, the “Unknown Jam” unique to the rehearsal started, and at the same time noise such as “cracking” was mixed, but there was no such sound at all. In this way, the problems such as noise and skipping that occurred when the CD-R was made fifteen years ago have been eliminated, and you can be confident that you will be recording from the master cassette this time.
Let’s move on to the contents. First, the main part of the live at Young Big recorded in the first piece. This is often misunderstood, but it wasn’t actually a live show for the “LIFE HOUSE” project, but rather a live show that was held to pay for the recording that later became “WHO’S NEXT.” Pete testifies in this autobiography. I think that there are many enthusiasts who think of “LIFE HOUSE” as a Young Big Theater, but the February stage using the theater for that purpose is a public rehearsal for developing new songs and concepts, and in fact Not live. It seems that there is no sound source because of that.
Therefore, the stage of this April will be after the failure of “LIFE HOUSE”, but most of the songs that were unveiled were all from the project, and by playing it live for “WHO’S NEXT” There was also the purpose of wanting to boil it down.
This sound source is now released in “WHO’S NEXT” deluxe edition with excellent sound quality, and it is undeniable that the value of the sound source originally distributed on CDs such as “LIFE HOUSE LIVE” has been halved. In addition, the sound quality is completely different, while the Deluxe Edition was based on multitrack recording, it seems that it was the sound board recording of PA out that was the basis of the existing board and “LIFE HOUSE LIVE” I will. Of course, there is a difference between stereo and monaural.
So, when we released the existing edition, we adopted only the parts that were not recorded in the deluxe edition for the live main part, but in reality there were holes in the deluxe edition. For example, “Getting In Tune” had been shortened by cutting the riff part that Pete had before starting the guitar solo. In other words, this sound source also had value. Therefore, this version is a full-length version of a PA-out sound source that has not been released for a long time this time.
Actually, this sound source was also incomplete at the beginning when it appeared on “LIFE HOUSE LIVE” (CD) (KKR 42), and the tape replay scene before the start of “Won’t Get Fooled Again” that was not heard until then The first excavation that I showed was the previous edition in 2005. As you can see from this scene, it was very funny how “Won’t Get ~” played the synth loop part on tape, and the band tried to play along with it. At that time, there was no precise equipment like a sequencer, and it was a primitive one that simply played tape. At that time, I was surprised by the happening that I was able to listen to on the already released board, and this time, for PA out sound source, this time will be the longest version released in the past.
In this way, in the rehearsal, I can see the trial and error to introduce the new song of that time on stage in earnest, and I think that I was thinking about the pattern of medley from “My Generation” to rock and roll cover. After all, it was “Bony Moronie” and “Road Runner” that became a thing, but the fact that at this time I was also trying “Walking The Dog” familiar with the Rolling Stones was surprising at the time of the previous release.
The highlight of this release is the session sound source held in New York in front of the Young Big Theater. When the “LIFE HOUSE” project was already overwhelmed during the rehearsal stage in February, New York was held at the Record Plant session as a breakthrough by the division of manager Kit Lambert (after all, this session Pete gives up on the project because he didn’t make progress).
The masterpiece “FROM LIFEHOUSE TO LEEDS” revealed the phantom recording that Al Cooper and Leslie West participated in. It was a release at the height of Scorpio’s heyday, and there should be many enthusiasts who can’t forget the impact of the quality comparable to the official. After that, it was officially released as a bonus for the “WHO’S NEXT” remaster edition, and also used for the deluxe edition.
However, this time, the first rough mix that is different from both was unearthed. Although it is monaural, don’t underestimate what it is. In the past releases, it was recorded even before and after the performance, which was completely cut. Among them, it’s a surprise to start playing from the electric version sung by Pete, the most popular record plant session, “Love Ain’t For Keeping”. Alternatively, the longest-ever scene in which only the synth loop continues to play when the band stops playing “Won’t Get Fooled Again”.
And the mix itself is quite rough. Basically there is a lot of balance between vocals and drums, but for example, in “Pure And Easy”, Keith Moon’s striking cymbal, which was a modest mix in past releases, stands out. And yet, there is no acoustic guitar track yet, so it’s a condition that can be called a rough mix. The liveliness of every song is the same as the performance of the band. Especially when it becomes The Who.
A rough mix version with a powerful record plant session that was originally attractive for rough performances. In addition, a new standard of the “LIFE HOUSE” period sound source, which carefully summarizes the best version of each sound source of the Young Big Theater, is born!
★ The latest digitized master from the original cassette tape owned by all parties is used. (★★ The session part is the first appearance sound source.)
★ Lifehouse Live Outtakes and its rehearsal at Young Vic Theater in 1971, and the back “Lifehouse Chronicles” compiled from the Session sound source in NY in March of the same year. It is a super important title that talks about WHO maniacs all over the world.


そんな短期間の間で生み出された音源のいくつかも今や「WHO’S NEXT」のデラックス・エディションで網羅されていますが、そこで聞かれないレア音源をまとめた2005年の名盤「YOUNG VIC REHEARSALS」。デラックス・エディションでは聞かれないヤング・ビック・シアターでのライブ本編とより貴重なリハーサル音源をまとめていました。それも今や売り切れてしまい、ましてや15年前のリリースであったということもあり、新たな集大成がマニアの間で待たれていたもの。

そこで今回リリースされるのが本作なのですが、ベースになった音源はどれもネット上にすら出回っていない関係者所有のカセットから改めてデジタル化して収録。よって「YOUNG VIC REHEARSALS」(以下、既発盤と称します)用音源の使い回しではありません。その証拠として既発盤は元のリハーサル音源をCD-Rで入手したと思われ、その際に生じていた曲間のギャップノイズを摘まんだ形跡がありました。例えば「Bony Moronie」が始まる直前、ピートがギターをフィードバックさせているのですが、そこで微弱な音飛び(カット)が生じているのです。ところが今回の音源は元のカセットからの収録ですので、そうしたカットが一切ない。
さらに既発盤ではリハーサルならではの「Unknown Jam」が始まると同時に「パチパチ」といったノイズが混入していたのですが、このような音も一切ない。このように、いかにも15年前のCD-R化の際に生じたノイズや音飛びといった問題が一掃されていることからも、今回のマスターカセットからの収録を確信していただけることでしょう。

それでは内容に移ります。まず一枚目に収録されたヤング・ビックでのライブ本編。これは誤解されがちなことですが、実はこちら「LIFEHOUSE」プロジェクト用のライブではなく、むしろ後に「WHO’S NEXT」となるレコーディングの費用を捻出する為に行われたライブでした。このことはピートが自伝で証言しています。「LIFEHOUSE」といえばヤング・ビック・シアターと思い浮かべるマニアが多いかと思われますが、それ用に同劇場を使った2月ステージは新曲やコンセプトを練るための公開リハーサルであり、実質的にはライブではありません。そのせいで音源も存在しないのだと思われます。
よってこの4月のステージは「LIFEHOUSE」頓挫後ということになるのですが、それでも披露された曲の大半は同プロジェクトからの曲ばかりであり、それをライブ演奏することで「WHO’S NEXT」用に煮詰めたいという目的もありました。
この音源も今や「WHO’S NEXT」デラックス・エディションで素晴らしい音質でリリースされており、当初「LIFEHOUSE LIVE」といったCDで出回った音源の価値が半減してしまった感は否めません。それに音質がまるで違っており、デラックス・エディションがマルチトラック録音をベースにしていたのに対し、既発盤や「LIFEHOUSE LIVE」の元になったのはPAアウトのサウンドボード録音であるように思います。当然ステレオとモノラルの違いもある。
そこで既発盤のリリース時、ライブ本編に関してはデラックス・エディション未収録のパートだけを採用した訳ですが、実はデラックス・エディションにも穴があった。例えば「Getting In Tune」などはピートがギターソロを始める前にあったリフのパートをカットするといった短縮編集が施されていたのです。つまりこちらの音源にも価値が残されていた。そこで今回は久しくリリースされてなかったPAアウト音源の全長版を、これまたコア・トレーダー所有のカセットから収録してみせたのが今回のバージョン。

実はこちらの音源も「LIFEHOUSE LIVE」(CD)(KKR 42)で登場した当初は不完全でして、それまで聞かれなかった「Won’t Get Fooled Again」開始前のテープ再生のやり直し場面を初めて発掘してみせたのが2005年の既発盤だったのです。この場面からも解るように、「Won’t Get~」でシンセループのパートをテープで流し、それに合わせてバンドが演奏するという新機軸に試行錯誤している様子が何とも微笑ましいものでした。当時はシーケンサーのような緻密な機材はなく、単にテープを流すだけという原始的なもの。それだけに既発盤で聞けるようになったハプニングには驚かされたと当時に、PAアウト音源に関しては今回が過去最長バージョンでのリリースとなります。
このようにリハーサルでは当時の新曲を本格的にステージ導入する為の試行錯誤が伺え、なおかつ「My Generation」からロックンロール・カバーにメドレーするパターンを考えていたことが解ります。結局ものになったのは「Bony Moronie」と「Road Runner」でしたが、この時点ではローリング・ストーンズでもおなじみ「Walking The Dog」も試していたという事実は既発盤リリース時に驚かされたもの。

アル・クーパーとレスリー・ウエストが参加して行われた幻のレコーディングが明らかになったのは、あの名盤「FROM LIFEHOUSE TO LEEDS」。スコルピオ絶頂期のリリースであり、オフィシャルと遜色のないクオリティの衝撃が今も忘れられないマニアは多いはず。その後「WHO’S NEXT」リマスター盤のボーナスとしてオフィシャルでもリリースされ、なおかつデラックス・エディションにも流用されました。
ところが今回はどちらとも違う初登場のラフミックスを発掘。モノラルではありますが「なんだモノかよ」と侮るなかれ。過去のリリースではことごとくカットされていた演奏の前後のやり取りまで収録されているのです。中でもレコード・プラント・セッションで最も人気のある「Love Ain’t For Keeping」ピートが歌うエレクトリックバージョンからして、彼のカウントから演奏が始まるのだから驚き。あるいは「Won’t Get Fooled Again」でバンドが演奏を止めてもシンセループだけが鳴り続ける場面も過去最長。
それに何と言ってもミックス自体が相当にラフ。基本的にボーカルとドラムが目立つバランスが多いのですが、例えば「Pure And Easy」では過去のリリースだと控えめにミックスされていたキース・ムーンの叩くシンバルがやたらと目立つ。それでいてアコースティック・ギターのトラックがまだなく、正にラフミックスと呼べる状態なのです。どの曲でもバンドの演奏をそのままぶち込んだような生々しさは圧巻。それがザ・フーともなればなおさら。

★全て関係者所有のオリジナル・カセットテープからの最新デジタル化マスターを使用。 (★★セッション部分は初登場音源。)

★1971年Young Vic TheatreでのLifehouse Live Outtakesとそのリハ、及び同年3月のNYでのSession音源をコンパイルした裏「Lifehouse Chronicles」。世界中のWHOマニアの話題をさらう超重要タイトルです。


Disc 1 (71:02)
Live at the Young Vic Theatre, London, UK 26th April 1971

01. MC
02. Too Much Of Anything
03. Getting In Tune
04. Bargain
05. Pinball Wizard
06. See Me Feel Me
07. Baby Don’t You Do It
08. Water
09. My Generation
10. Road Runner
11. Naked Eye
12. Bony Maronie
13. Won’t Get Fooled Again (False Start)★既発CDタイトル「LIFEHOUSE LIVE」(KKR 42)には未収
14. Won’t Get Fooled Again ★曲中カット

Disc 2 (69:45)
Rehearsal at the Young Vic Theatre, London, UK 26th April 1971

01. Soundcheck
02. Baby Don’t You Do It
03. Bargain ★カットイン
04. Bony Moronie
05. Unknown Jam
06. My Generation
07. Naked Eye #1 ★カットアウト
08. Naked Eye #2 ★カットイン
09. Bony Moronie ★1:40カット
10. Road Runner ★0:14カット
11. Walking The Dog ★ロジャーの’75ソロ「Ride A Rock Horse」やストーンズなどでお馴染み

「he New York Record Plant Sessions (*Rough Mixes)ラフミックス
Recorded at the Record Plant, New York, NY, USA 16th-18th March 1971

12. Pure And Easy
13. Won’t Get Fooled Again
14. Love Ain’t For Keeping
15. Behind Blue Eyes
16. Baby Don’t You Do It
17. Getting In Tune



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