Peter Gabriel/CA,USA 4.9.1977 Late Show

Two of the great British progressive rock charisma, Peter Gabriel and Robert Fripp. Two live albums that allow you to experience the miraculous tour where the two men stood side by side will be released at the same time. This is the first of two consecutive works. It is a superb audience recording of the “April 9, 1977 West Hollywood performance (late show)”. Speaking of “The Roxy in 1977”, the classic FM sound board is famous, and the new masterpiece “THE ROXY 1977 2ND NIGHT” by absolute master Mike Millard was also unearthed. However, this work is different from both of them. It is not a different gene or recording, but a completely different performance. In order to organize the circumstances around that, let’s first look back at the schedule at that time. {February 25th “CAR” released} March 5th – April 10th: North America (28 performances) ←★Here★ April 23rd – 30th: UK #1 (7 performances) September 2nd – November 1st: Europe / UK #2 (49 performances) {November “SCRATCH” production begins} This is the overall picture of the first solo tour in which Robert Fripp participated (under the pseudonym Dusty Lord). The West Hollywood performance of this work is the 26th concert of the “North American” leg, which is the beginning of the concert. Also, “April 9th” and “April 10th” were four consecutive performances at “The Roxy”. Let’s zoom in here. April 9th ​​early show ←※FM broadcast? April 9th ​​late show ←★This work★ April 10th early show ←※FM broadcast? April 10th late show ←※Mirrored recording … and so on. It seems that the FM broadcast is not decided whether it is “April 9th” or “April 10th” depending on the material, but in any case, it is an early show of two performances a day. In contrast, the two audience recordings released at the same time are late shows, and this work corresponds to the “evening performance on April 9th”. This work recorded at such a show is a superb audience recording with “super”. After all, it is more on and direct than that mirrored recording! Of course, the beauty of the sound and the surrounding grooves are completely different only for audience recordings, and even though it is the same venue, it is a different performance. It is not possible to simply decide superiority or inferiority, but in terms of the strength of the core and the sense of adhesion alone, it also transcends Miller’s “THE ROXY 1977 2ND NIGHT”. This is not a little thing. Speaking of 1977, it was the peak of Miller’s, and “2ND NIGHT” is the original master of the new excavation. It is a masterpiece that is at a height that cannot be surpassed by common sense. However, this work actually exceeds such heights. Although it must have been an audience recording since the raw enthusiasm erupts at the start of the show and between songs, the essential performance sounds and vocals are super clear like modern IEMs. And such a sound depicts a full show with two great charisma standing side by side. The set commentary will be left to the commentary of “2ND NIGHT”, but the greatest thing about this work is that the miraculous ensemble can be enjoyed in detail with super direct sound. Peter’s singing voice has a completely zero distance feeling, and it’s nice that Flip’s guitar is tightly separated while intertwining with Steve Hunter. Of course, there are more than just two people. Although it is a large group of eight people, it is wonderful because each sound does not mix even when they overlap. Hunter is a guitarist known for his work with Lou Reed, and Tony Levin is a master who has a long relationship with Flip in KING CRIMSON… It’s good to pay attention to each one individually, but in this work, I would like you to immerse yourself in the overall breathing feeling. After all, not only Hunter & Levin, but also Alan Schwartzberg (drums) and Jimmy Malen (percussion) were also in Alice Cooper’s backing band (with the exception of the two keyboardists). That’s why, even at the beginning of the tour, there was no sense of it being tacked on, and the band’s natural groove was fully felt. And the sound of this work is so great that it is clear. In 1976, Bill Bruford sat on the GENESIS stool, and the following year, Robert Fripp was Peter Gabriel’s partner. This work is a masterpiece of a live album that allows you to experience the best of a miraculous band that could only exist in the mid-70s. “THE ROXY 1977 2ND NIGHT” by the absolute master Millard is naturally wonderful, but this is a great album that does not back down a step and may even surpass the new masterpiece. A superb audience recording of “April 9, 1977 THE ROXY performance (late show)”. Although it was a different performance at the same venue as the standard FM broadcast and Millard’s work “2ND NIGHT”, the sound is on more than Millard’s work. It is a super direct recording that is as clear as modern IEMs. Peter’s singing voice has a completely zero distance feeling, and Flip’s guitar is tightly separated while intertwining with Steve Hunter. This is a miraculous live album that allows you to experience the superb ensemble of the two great charismatic figures of progressive rock. Live at The Roxy, West Hollywood, CA, USA 9th April 1977 (Late Show) TRULY PERFECT/ULTIMATE SOUND Disc 1(42:01) 1. Here Comes The Flood 2. On The Air 3. Moribund The Burgermeister 4. Waiting For The Big One 5. ASong Without Words 6. Excuse Me 7. Solsbury Hill 8. Ain’t That Peculiar 9. Band Introductions 10. Humdrum Disc 2(44:10) 1. MC 2. Slowburn 3. All Day And All Of The Night 4. Here Comes The Flood 5. Modern Love 6. Down The Dolce Vita 7. Encore 8. Back In N.Y.C. 9. Modern Love (reprise) Peter Gabriel – Piano, Flute, Tambourine, Vocals Dusty Roads (★Robert Fripp) – Guitars Steve Hunter – Guitars Tony Levin – Bass, Stick, Tuba, Backing Vocals Alan Schwartzberg – Drums, Backing Vocals Jim Maelen – Percussion, Backing Vocals Larry Fast – Synthesisers Phil Aaberg – Keyboards, Backing Vocals