Genesis/UK 1975 AUD Master

“THE LAMB LIES DOWN ON BROADWAY TOUR 1974-1975” is the ultimate story tour that anyone who loves progressive rock, especially those who love fantastic symphonic rock, would like to experience. Introducing the ultimate live album that will make that dream come true. This work includes “April 16, 1975 South Hampton Performance”. It is a transcendental audience recording. Speaking of the “Dazzling Broadway Tour”, it is also famous as a famous place for producing the finest soundboards even in the Peter Gabriel era. Some people may be thinking, “Is there an audience now?”, but it is a masterpiece that is so worth it. There are many reasons for this, but in order to explain them, the first thing to do is the show’s position. Let’s start with the big picture of the historical storytelling tour. 1974《“Dazzling Broadway” released on November 18th》・November 20th – December 18th: North America #1 (26 performances) 1975・January 9th – February 4th: North America #2 (19th performance) Performances) ・February 19th – April 12th: Europe #1 (34 performances) ・April 14th – May 2nd: UK (16 performances) ←★Here★ ・May 8th – 24th: Europe #2 (13 performances) This is a panoramic view of “THE LAMB LIES DOWN ON BROADWAY TOUR”. Generally speaking, the flow is from North America to Europe, and the European section is subdivided into continents, Britain, and continents. The South Hampton performance of this work was the third concert in his home country of England. Now, what is special about this work that recorded such a show? It’s all about quality. In fact, this recording is considered “Broadway’s Best Audience” by the world’s GENESIS completers. Moreover, “Anyway”, which had been cut so far, is also included, and it is the latest master that has updated the longest and highest quality. In fact, the quality is miraculous. What’s most wonderful about it is its solid core, delicate details, and indescribable sense of fantasy. First of all, the core is amazing. In terms of timbre, there are nuances of spatial recording, but it does not create a sense of distance, and it approaches very close to your eyes. And the details that accompany it are also super clear. Anyway, the contours of each note of all the instruments are unusually clear, and no matter how much they overlap, they don’t blend together. The bass is especially surprising. The attack sound is harsh and intense, and the vibe is so delicate that you can feel the vibrations shaking the floor. What’s more, it doesn’t shake at all even at its peak, and even in parts where the synths play heavy bass to support the bass, the sound doesn’t become cloudy or muddy. It is outside the common sense of audience recording in the 1970s…or should I say, it is so vivid that you will be surprised that such a sound can be picked up by a microphone from the 1970s. And a sense of fantasy. This is really, really great. Although the quality is extremely high, the feel is not directly connected to the mixing house, but is colored by a subtle sense of space. The mood created by this creates a somewhat gloomy scene. Well, for example, the image of walking down the aisle depicted on the jacket work (on the right side) of “Dazzling Broadway.” It’s mysterious, yet unsettling. That’s why the Mellotron that slides into it is as warm as sunlight, and you can feel the warmth even in the pop melody. The sound board is perfect for depicting the subtleties of live performance itself, but in order for the sound to stir up a “scenery”, a sense of “space” is necessary… such “descriptive power that only the audience can provide” is wonderful. Furthermore, the performance itself is also important. As mentioned above, the tour was from North America to the UK, but the full-length soundboard was almost in North America. However, the European/British bands are better at playing because they have a higher level of proficiency. Of course, the famous British tour soundboard “DEFINITIVE LIVERPOOL 1975 (Virtuoso 368/369)” also reigns, but this work is also a field experience board. In fact, part of “Fly On A Windshield” was omitted from recording, and “Lilywhite Lilith” was only the last part. Unfortunately, it is not a complete recording without a moment’s gap. However, the reason why core enthusiasts around the world continue to love it is because they can experience the “scene of the story”. This is a live album that is packed with the “supreme experience” that enthusiasts have been searching for for many years, and even includes “Anyway”, making it the highest peak ever. “I want to be on the scene of a Broadway tour,” “I want to be immersed in the story told by the best performances,”…this is the fruit of a maniac’s dreams. Gaumont Theatre, Southampton, UK 16th April 1975 ULTIMATE SOUND Disc 1 (48:11) 1. The Lamb Lies Down On Broadway 2. Fly On A Windshield (with power failure) 3. Fly On A Windshield (with drum intro) 4. Broadway Melody of 1974 5. Cuckoo Cocoon 6. In The Cage 7. The Grand Parade Of Lifeless Packaging 8. Back In N.Y.C. 9. Hairless Heart 10. Counting Out Time 11. Carpet Crawlers 12. The Chamber Of 32 Doors Disc 2 (69 :31) 1. Lilywhite Lilith (closing section) 2. The Waiting Room 3. Anyway 4. Here Comes the Supernatural Anaesthetist 5. The Lamia 6. Silent Sorrow In Empty Boats 7. The Colony Of Slippermen 8. Ravine 9. The Light Dies Down On Broadway 10. Riding The Scree 11. In The Rapids 12. It 13. The Musical Box Story 14. The Musical Box