Genesis/CA, USA 1.22.1975

The audience status of “THE LAMB LIES DOWN ON BROADWAY TOUR 1974-1975”, which has been discovered rapidly and is suddenly gaining popularity. Following on from the famous album “SOUTHAMPTON 1975” the other day, a shocking masterpiece is now available. This work includes “January 22, 1975 Berklee Performance”. It is a super best audience recording that conveys the whole story. “SOUTHAMPTON 1975”, which I introduced last time, was a live bum performed in their home country of England, but this work is set in America. First of all, as usual, let’s look back at the overall picture of the world tour and check the show’s position. 1974《“Dazzling Broadway” released on November 18th》 November 20th to December 18th: North America #1 (26 performances) 1975 January 9th to February 4th: North American #2 (19th performance) Performances)←★Coco★・February 19th – April 12th: Europe #1 (34 performances)・April 14th – May 2nd: UK (16 performances)←*“SOUTHAMPTON 1975”・May 8th Sunday – 24th: Europe #2 (13 performances) This is GENESIS’s… no, the whole story of the tour that will remain in the history of British rock. It is broadly divided into North America/Europe, with “North America” ​​from immediately after the release of the album until the year-end and New Year holidays, and “Europe” after that. Among them, the Berkeley performance of this work is “the end of the first half”. This was the 10th concert of “North America #2”. This work recorded at such a show is attracting attention as “the best audience recording of the Broadway tour!” Currently, perhaps due to the influence of the coronavirus pandemic, collectors are actively digging up guest records from the “Broadway tour.” Not only the recent “SOUTHAMPTON 1975”, but also masterpiece masters such as “ANNECY 1975” and “MUNICH 1975” are appearing one after another. This work is also one of the works that appeared in this flow, and is a super masterpiece that easily surpasses the previous works. What is most shocking of all is that the thick and beautiful core “SOUTHAMPTON 1975” was also neat, but this work has a much closer feeling and is extremely on. Although there is a level of hall noise that you can only notice when you listen carefully with headphones, it does not give you a sense of distance. Since it was a show 45 years ago, the recording position is not known, but it is so close that I think it is in the front row or right in front of the PA. That said, the level of hall noise that you don’t even realize is also important. After all, “Broadway Tour” is the best soundboard rich area even in the Peter Gabriel era. It is not surprising if it is just a “soundboard-like recording”. However, in this work, the sub-conscious sounds create an exquisite sense of fantasy, and combined with the realistic applause, it gives you an indescribable sense of realism. In particular, Peter’s vocals are detailed down to the single word of the lyrics, yet there is a spectacle that fills the venue, and Banks’ Mellotron has a wide range of tolerance. And Rutherford’s bass. This is very interesting. The attack is crisp and bright, but the vibe that rises from it has a sense of scale, as if the entire venue had become a speaker. It is close to the same level as a sound board and is super clear, but it also has a “world view of sound” that cannot be achieved with a line… It is truly a magical sound that can only be found in a guest record. The show drawn with such beautiful and magical sounds is also noteworthy. The best part is how few cuts there are. Those who are familiar with the audience recording of “THE LAMB LIES DOWN ON BROADWAY TOUR” will understand this, but there are almost no easy-to-understand breaks in the long story show, and in the case of an audience recording with one tape, every single note is recorded. That is an extremely difficult task. Unless they are recorded separately and combined, there will be a cut somewhere when the tape changes. Although this work is not an exception, there are very few…or should I say, only one place in the second half of “The Waiting Room”. There is no need to take “SOUTHAMPTON 1975” as an example, and this long experience can be said to be a great achievement. There are also points after the story show ends. On this tour, one of the songs “The Musical Box,” “Watcher of the Skies,” or “The Knife” is usually played as an encore, but perhaps because he was so satisfied with the performance on this day, two of the songs on this album are “The Musical Box,” “Watcher of the Skies,” and “The Knife.” “The Musical Box” and “Watcher of the Skies” are performed in quick succession. In fact, it is a full show filled with not only the volume of songs but also the sense of fulfillment of the performance. “THE LAMB LIES DOWN ON BROADWAY TOUR” shines brightly in rock history. We have repeated this many times before, but unlike “Tommy” or “The Wall,” this is a story tour that cannot be repeated. This work is a masterpiece that allows you to experience the miraculous scene that every British rock fan craves. Live at Community Theater, Berkeley, CA, USA 22nd January 1975 TRULY PERFECT SOUND Disc 1 (49:44) 1. The Lamb Lies Down on Broadway 2. Fly on a Windshield 3. Broadway Melody of 1974 4. Cuckoo Cocoon 5. In the Cage 6. The Grand Parade of Lifeless Packaging 7. Story of Rael 1 8. Back in NYC 9. Hairless Heart 10. Counting Out Time 11. Carpet Crawlers 12. The Chamber of 32 Doors Disc 2 (72:20) 1. Story of Rael 2 2. Lilywhite Lilith 3. The Waiting Room 4. Anyway 5. Here Comes the Supernatural Anaesthetist 6. Interlude 7. The Lamia 8. Silent Sorrow in Empty Boats 9. The Colony of Slippermen 10. Ravine 11. The Light Dies Down on Broadway 12. Riding the Scree 13. In the Rapids 14. It 15. The Musical Box 16. Watcher of the Skies