David Bowie/Australia 11.11.1978

The Berlin era’s “LOW AND HEROES TOUR 1978” was a brilliant performance in Japan. Here is a masterpiece from that overseas performance. This work is an audience album containing the “Adelaide performance on November 11, 1978 (Australia)”. As expected, it is a masterpiece among the many overseas recordings, and it is a famous recording that has three features: “clear sound”, “lively performance”, and “realistic atmosphere”. The “Oval Cricket Ground” where the event took place is an outdoor cricket ground that can accommodate about 53,000 people. Although the musical sound has a slight sense of distance, the clarity that cuts through the large outdoor space is wonderful, and the music is not blown away by the wind. Even more wonderful than such sound is the lively and passionate performance. That’s because this day was Bowie’s first Australian performance, and his first stadium-class outdoor concert. Let’s take a look at the 1978 tour schedule.・March 29th – May 9th 1978: North American tour (31 shows) (4 days travel and off) ・May 14th – May 27th 1978: European tour #1 (11 shows) (3 days travel and off) ・May 31st – July 1st 1978: European tour #2 (23 shows) (4 months off and release of “STAGE” and production of “LODGER”) ・November 11th – November 25th 1978: Australian tour (7 shows) (3 days travel and off) ・November 29th – December 2nd 1978: New Zealand tour (2 shows) (3 days travel and off) ・December 6th – December 12th 1978: Japan tour (5 shows) I have tried to separate all the dates where there was a gap of more than “3 days” into smaller groups. In other words, the dates summarized were “three days” without any gaps, and the live performances were nonstop. As you can see from this, there were about three months between the “North American Tour” and the “European Tour #2” where there were a lot of live performances. After that, there was a lot of space from July to November, and “STAGE” and “LODGER” were produced there. And the Adelaide performance of this work was the first day of the Australian tour. In other words, it was the first live performance to resume after being freed from studio work and songwriting. Moreover, the Australian tour itself was the first of the year, and this was the first day of the outdoor stadium… It was full of tension with a lot of firsts, and the condition was also excellent. It is no wonder that the performance of this work is so energetic. In addition to Bowie’s passionate performance, the mood of the audience is also an important point of this work. On this tour, the super recordings of the Japanese performances “BUDOKAN 1978 (Wardour-177)” and “BLACKOUT (Wardour-084)” have been very popular, but the enthusiasm heard there is completely different in quality. The Japanese audience listens carefully and gives a big cheer as soon as the performance is over. Of course, even if the next song does not start, if the MC comes in, it is a groove that listens again so as not to miss a single word. However, the audience at this Adade is completely different, and they make a lot of noise, cheer, and sing whether it is between songs or during the performance. They listen to the songs being played while talking with their friends, and if their favorite songs or hit songs start, they will be full of excitement with all their heart and soul. When written like this, it seems like it is covered with noisy customer voices, but it is not. After the musical tones play a leading role, it feels like we are surrounded by real enthusiasm as we listen. This is also wonderful and fun. The audience who started singing had native pronunciation and were good at singing (laughs), but the honest enthusiasm was very pleasant. Just as this was Bowie’s first time in Australia, it was also the first time for the audience at the venue. The innocent joy of meeting him for the first time was heartwarming and happy. Furthermore, before “Five Years,” the recorder asked, “Are you recording?” It was so vivid. Unlike the British, who are highly polarized between elegant and wild, and the overly forward-leaning and passionate Americans, the Australians were somehow laid-back. Moreover, it was November, summer in the southern hemisphere. The air flowing from the speakers was warm, and it was a live album full of openness. Freed from long studio work, Bowie was able to play in the southern hemisphere for the first time, and in an outdoor stadium for the first time. The Australians welcomed him warmly. All the necessary conditions were met, and this was a great performance that was destined to be a great performance, and a great recording that was destined to be a great recording. Although it is the exact opposite of Japanese concentration, it is an endlessly warm and open live album. The final song, “Ziggy Stardust,” is longer and more dramatic than usual, leaving you with a sense of fulfillment. Please come and discover the “Bowie that Japanese people didn’t know.” Live at Oval Cricket Ground, Adelaide, Australia 11th November 1978 TRULY AMAZING/PERFECT SOUND Disc 1(47:31) 1. Intro. 2. Warszawa 3. “Heroes” 4. What In The World? 5. Be My Wife 6. The Jean Genie 7. Blackout 8. Sense Of Doubt 9. Breaking Glass 10. Fame 11. Beauty And The Beast Dis c 2(58:46) 1. Band Introduction 2. Five Years 3. Soul Love 4. Star 5. Hang On To Yourself 6. Ziggy Stardust 7. Suffragette City 8. Art Decade 9. Alabama Song 10. Station To Station 11. TVC 15 12. Stay 13. Rebel Rebel David Bowie – Vocals Carlos Alomar – Ryhthm Guitar Adrian Belew – Lead Guitar Dennis Davis – Drums & Percussion Simon House – Electric Violin Sean Mayes – Piano & String Ensemble George Murray – Bass Dennis Garcia – Keyboards & Synthesizer