Description
A new miraculous master who appeared after more than 40 years has been discovered. What was contained in that miraculous master was “Boston performance on July 22, 1977”. It is the super best audience recording. The biggest point of this work is the miraculous level of sound quality, but it is difficult to imagine unless you know the position of the show. First, let’s check it against the activity schedule at that time. ●1977 [“Tetralogy” released on March 17th]・May 24th – August 26th: North America #1 (64 performances) ←★Coco★・October 15th – November 30th: North America #2 (32 performances)《“Work No. 2” released on November 1st》 ●January 16th – March 13th, 1978: North America #3 (48 performances)《Summer production of “Love Beach” → EL&P disbanded 》 This is an overview of EL&P’s activities since the “Quadrology”. There are many ambiguous points in the records from that time, so the number of performances is not exact, but I think you can understand the approximate timescale. Among them, the Boston performance of this work is “North America #1” and has more than 30 performances, which is about 1/3 of the total in 1977. In this “North America #1”, 15 performances were performed with an orchestra, but this work was a trio-only show. The quality of this work, which carved out such a show, is so wonderful that it is hard to believe that it was made in the 70s. Although the sound of the bass drum is definitely an audience recording, its clarity and vividness are outside the norm of the 1970s. The raging drums are so three-dimensional that you can clearly see the structure of the kit, and the contours are as clear as if microphones had been set up for each one: bass drum, snare, hi-hat… And Greg’s singing voice jumps on like a radio broadcast, and the bass is sharp until the attack sound that bounces. Of course, no matter how fast Keith moves his fingers, the sound grains are perfectly arranged. When the details of a super-fast phrase are lost, the melody becomes a “line”, but the sound of this work is like a neatly arranged “prayer”. What’s more, each grain shines as lustrously as a pearl. This brilliance is the beauty of the audience. Although the sound board has bright grains, it is rough like a metal ball, but this is not the case with this work. It is a beautiful yet delicate sound world that is like a vast carpet woven from a series of tiny pearls. The recording is superb, but even more surprising is the freshness of the sound. In fact, this master was recently discovered by the prestigious “Krw_co”, and it has been digitized directly from the original master. Speaking of audience recording in the 70s, it is natural that Gene is unknown. It is a world where the 2nd gene is a treasure, and the 1st gene is a great discovery. That is a direct transfer from the source. What’s more, it is in a miraculous state of preservation with almost no kinks or disturbances… What is even more shocking is the full-length recording of the show. Of course, this was an era where there was a limit to tape length, so there were some reverse cuts here and there. However, all of that is out of the performance sound. Particularly miraculous is “Take a Pebble.” The tape flips in the middle, but that’s exactly where the break occurs. It’s about 11 minutes long, and the timing is perfectly matched to the very slightest part of the performance, so even if you listen to it knowing that it’s going to change at this point (8:41), you won’t even notice. Of course, all other parts are between songs. If it was a coincidence, it would be too miraculous, and if it was aimed at after knowing the performance well, it would be too much of a masterful record. It is a miraculous recording as if the goddess of rock ordered it to be recorded, but the show is so exquisite that you want to believe so. The peak of popularity may have been before switching to the GX-1, but it was in 1977 that he reached his peak as a performer. Every song has a wonderful sharpness, with a sense of speed and brilliant finger movements. The vivid and rich endless improvisation that springs from the fast tempo… Of course, if the rare genius Keith is in top form, neither Greg nor Carl would be defeated. Of course Greg’s singing voice is youthful, but the beat is still intense. Carl’s rampage is explosive, challenging Keith head-on, and Greg’s bass also synchronizes and fights together as if it were part of the kit. Rather than a three-way trio, it’s more like Keith vs. Carl (& Greg). It is a sound that vividly depicts each and every move of the game that is exchanged between the two. EL&P, the pioneers of keyboard trios, suddenly reached a height that no one else could surpass. If they had been a little more mediocre, a successor to EL&P might have appeared and the keyboard could have become the mainstay of rock…What flows out of this work is a tremendous show that even makes you laugh at such nonsense. It is a miraculous new excavation album that depicts the whole story with super superb sound. Even after Keith and Greg left, the EL&P miracle happened again. A superb live album that jumps over 40 years in an instant. Live at Boston Garden, Boston, Massachusetts, USA 12th July 1977 TRULY PERFECT SOUND Disc 1 (66:37) 1. Karn Evil 9 1st Impression Part 2 2. Hoedown 3. Tarkus 4. Take a Pebble incl. Piano Concerto No 1 1st Movement 5. Still…You Turn Me On 6. Knife Edge 7. Pictures at an Exhibition 8. C’est La Vie Disc 2 (50:14) 1. Lucky Man 2. Tank incl. Drum Solo 3. Nutrocker 4 . Pirates 5. Fanfare For the Common Man
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