Pink Floyd / Zurich 1972 / 4CD

Pink Floyd / Zurich 1972 / 4CD / Sigma
Translated Text:
Live at Hallenstadion, Zurich, Switzerland 9th December 1972

Click Image To Enlarge

The final prototype of “Dark Side Of The Moon” … If you have things somewhat thrust into Floyd’s informal sound source, you know how much special it was. In the North American tour starting from March 1973, although it is a translation to be played according to album version, until the previous year it was played in the form of a prototype period which is quite different from that of the album version, its vivid composition is still I will attract fans. The final type of “prototype · madness” celebrated at the European tour which took place from the end of October 1972 to the beginning of December, and there are many recordings of the pattern of this period, but especially on December 9 The recording which contained the Swiss Zurich ‘s performance had attracted the attention of fans by having two kinds of sources.

【Recorder 1 and Recorder 2: History and Trends】

One is a famous sauce that saw the sunshine as a boot leg LP “LIVE IN ZURICH (FROG RECORDS – PF 1 A / B PF 2 A / B)” or “LIVE IN ZURIGO (WIND RECORDS – BP 0013)” in the early 80’s, This is called Recorder 1. Although some cuts in the songs are quite excellent in terms of sound quality, they are widely known as a good sound source that recorded precious 1972 winter performances. However, Recorder 2 suddenly appeared on the Internet shortly after the Internet became popular, this is “Speak To Me” recorded for more than one and a half minutes and not recorded in Recorder 1 Encore’s “Childhood’s End” was included, so it was an excavation sound source of the shock which the whole show of this day was elucidated and confirmed.

After that, Recorder 1 finds the original tape source used in the analog LP board. This was carefully removed from the noise, and the pitch correction that had been misaligned as a whole was announced as “ZURICH 1972: RECORDER 1 (Free 2 CDR)” from this shop, and this is the title representing Recorder 1 until now I have been on the front line. There is only recording from the original tape but not from the LP master disk, the recording time has been considerably longer than the analog board, LP has recorded “The Great Gig In The Sky” uncut in the middle of LP , “Money” also was cut long in about 3 minutes and half in LP as 5 minutes 06 seconds long, “Us And The m” has been recorded for about 45 seconds longer than the analog board The points will be listed as topics. Also, above all, being the same master as LP, recorded with excellent sound quality by the difference of generation was the shock’s additive vantage.

Meanwhile, Recorder 2 had realized sound formation by another label early on, but in April 2006 “ZURICH 1972 (Sirene-170)” debuts vividly from Sirene label which is the predecessor of Sigma now. This was digitized from the original master tape which the recording person himself possessed, and the sound quality difference was clearly different from the recorded sound of other labels. The sound with its original tone full score is debutted and it reaches the top of the top title title, and the initial press prepared is instantly sold out
Episodes that I’ve done are still reported to the current Sigma staff. The latest title which appears this time is the coupling of these existing two kinds of sources with the best form, and the cut out of “Money” which was in Recorder 1 was also compensated perfectly by Recorder 2 Ultimate 4 sheet set press It is a board!

【Recorder 1: That revalidation】

Recorder 1 with a long history on disks 1 and 2 contains an ideal final completion form that perfectly rebuilt. Basically, I use the source used for the above mentioned gift board “ZURICH 1972: RECORDER 1”, but from the rise it is a sound image with the thickness and deep depth of the midrange peculiar to Recorder 1, and the swelling in the left and right It will be captivated in a moment. As well as playing “Breathe” you can hear the singing voice of Gilmore from a very close position, and you should be able to see the goodness of the recording position again. “On The Run” is a sound image that precisely tracks the composition of each instrument’s sound generation in Recorder 2, but this Recorder 1 is a powerful sound image with a powerful driving feeling there, both of which are original recordings It is one song featuring high quality. In ‘The Great Gig In The Sky’, it’s Advantage that you can hear clearly the monologue SE of the voice that you can hardly hear at Recorder 2. Of course, the cutout seen in the initial analog board is also not here. In “Money” there is a partial cut which is the biggest disadvantage of Recorder 1, but this missing in about 1 minute is compensated to perfect with 1 / 1,000 of the waveform from Recorder 2. The Recorder 2 is also about as good as it sounds, so a perfect connection with no discomfort at all is realized for the first time in history. “Us And Them” in the middle of the performance noise due to some equipment failure
(※ poor contact of the plug?) Is heard, but here too the freshness which inhaled the sound which is occurring on the scene calmly is equipped in the same part of Recorder 2, this is also an excellent source as a documentary recording I think that it will be noticed once again that it was. “Any color you Like” tells out how the guitar echoing eloquently on the day, how it sounded in the venue, but the spatial nature of this full sense of site is also different from Recorder 2 and it is interesting It is place. “Brain Damage” also sounds superb in volume, tickle my ears, vocal that progresses in two voices and the sound of the organ that is played (* This smoothly of this texture!) Glaringly reflects the sense of hearing I will raise the evaluation more and more. Were you turning the direction of the microphone during the interval? From “One Of These Days” it became a high-resolution sound full of loud feeling, attack
The challenging performance of this day can be heard while going bumpy echoes with a shocking base. In transparency, the potential hidden from the introduction section of “Careful With That Ax, Eugene” further strikes the fangs and assures that you will take a breath on the sound image capturing the acoustic energy that changes instantaneously. “Echoes” also spreads to the ears full of vibrating sound waves completely sucking the sound of the site, and it is necessary for the point that it is possible to hear a delicate sound of an organ that has not been recorded even in Recorder 2 even before entering the scene of cry It will be noticeable.

【Recorder 2: Revalidation and Completeness of Sirene Board】

Disks 3 and 4 are straight copies of “ZURICH 1972 (Sirene-170)” which appeared from Sirene label in 2006. It seems to be able to hear the opinion “Is it exactly the same?”, But this is also a proof that the Sirene board penetrated through it so much that the title was a definite title with high quality. Indeed, after the project of this work was launched Sirene staff revalidated the Sirene board, but its perfect sound image and finish are too modest even if you have modern sound sense and technology There is no room, and it is contents to tell again how much original master tape which the sound recording person himself possessed was superior in the original sound power. By the way, at the sound source of other labels, the latter half repeats fade in and out one song at a time, but this Sirene version is recorded with uncut by cross fade processing, and the point that you can hear smoothly is also a big topic. Sirene board is already out of print and it is difficult to obtain it, so if you have not gotten it, I’d like you to touch the excellent sound quality by this work.

The charm of such Recorder 2 is exhausted to this sound picture which is full of translucency over Recorder 1 anyway. In the first few songs there is a feeling of giving one step to Recorder 1 because of the range of the range, but it also goes over Recorder 1 lightly as the show progresses, and the closeness of the sound is about +1 to 1.5 from the beginning Recorder 2 It is a pleasant thing that you win is better. The feeling of being unsatisfactory is that compared to Recorder 1, the lightness of the sound = the volume feeling of the midrange range is not felt in the beginning several songs, but this difference is almost gone from around “Time” The weight gets stronger to the sound from the middle of the song (especially around the beginning of the guitar solo), and eventually it becomes a sound component with almost no difference from Recorder 1, so it’s amazing. “Money” is the greatest charm that you can listen to that sound that was supplemented to the cut part of Recorder 1 with the full length version of the original, and the closeness of vocal and reverberation appear more densely than Recorder 1 It would be a feature. “Any color You Like” is perfect for listening because the volume balance is perfectly matched (* this song at Recorder 1 matches the localization, but the original sound is very slightly on the right side, the input is very strong), superiority in listening There will be a full filling feeling of the listener’s intelligence. “One Of These Days” also has a vibrant feeling of a massive base close to Recorder 1 or more, the sound of guitar and organ sound and the monologue’s voice are also nearly +2, the range of the sound field also comes here and it exceeds Recorder 1 You should be noticed. In “Careful With That Ax, Eugene”, I came to have a listening response of Recorder 1 or more in a scene like a cymbal movement (* 2 min 23 sec ~) and Roger’s reading of poetry from early on and this expression of the day You can taste numerous in even higher dimensions. However, since “Echoes” is still a very good recording even in Recorder 1, it can not be unconditionally added as a key, but it is not the case that it can be impossible to conform to this song with two excellent sound quality This is the Advantage of this work, I would like to taste luxurious sound with both sound sources here. And as you know, the biggest thing that characterizes Recorder 2 is that “Childhood’s End” is recorded after this. There is a special thing that the “another song” that can only be enjoyed with this uncut is probably left, there is a special thing, there is a special thing, a high transparency feeling oozing from the rising of the song, the granularity and power of each sound, more than anything singing voice I know that the closeness of the sound and the smoothness of the sound make Recorder 2 immortal.

Consider one performance at several different angles. The real pleasure of another source on the same day is right here. I think you are familiar with experienced listeners, but when Recorder 2 appeared on the net, the scene was a noisy one. Of course it is also said that “Childhood’s End” which was not recorded in Recorder 1 was included, but further understanding of the performance of this day by listening with the goodness of the recording state, that is, with Recorder 1 more than that In the “rumble of knowledge” to be obtained, the scene was a turbulent translation. In other words, because both sound sources remained with sufficient quality of sound quality for comparative consideration, it was also the sound source history of awesomeness and welcome, and this work is also a title that made the impact coupled in the best way It is. Since the Floyd special label scores the characteristics of the best and the best recording state which has superiority in both sources, it has made it into a pressed sound board, so unless the Recorder 3 by the unknown upper source is also excavated Will continue to be the top title of Zurich in the future for 72 years in the future. Come on this weekend this 72th winter performance with this latest work

「Dark Side Of The Moon」の試作最終型….フロイドの非公式音源に少しでも足を突っ込んだ事がある方なら、それがどれだけ特別なものであったかを御存知かと思います。1973年3月から始まる北米ツアーではアルバム・バージョンに準じて演奏される訳ですが、その前年まではアルバム版のそれとはかなり違う試作期の姿で演奏されており、その生々しい構成は今もファンを惹き付けてやみません。その” プロトタイプ・狂気 “の最終型は1972年10月末から12月上旬にかけて行われたヨーロッパ・ツアーで頂点を迎え、この時期の模様は幾つもの録音が残されていますが、とりわけ12月9日のスイス・チューリッヒ公演を収めた録音は2種のソースが存在した事でファンの注目を集めました。

【Recorder 1とRecorder 2 : その歴史と推移】

ひとつは80年代初頭のブートレッグLP『LIVE IN ZURICH (FROG RECORDS – PF1A/B PF2A/B)』や『LIVE IN ZURIGO (WIND RECORDS – BP 0013)』として陽の目を見た有名なソースで、これは通称Recorder 1と呼ばれています。曲中に多少のカットはあれども音質的にはなかなか優れており、貴重な1972年冬の公演を記録した良音源として広く知られていたのは御存知の通りです。しかしインターネットが普及して間もない頃に突如ネット上に出現したのがRecorder 2で、これは「Speak To Me」が1分半以上も長く収録されているうえ、Recorder 1では未収録だったアンコールの「Childhood’s End」が含まれた事でこの日のショウ全容が解明・確定した衝撃の発掘音源でした。

その後、Recorder 1はアナログLP盤で使用した大元のテープソースが見付かります。これに丁寧なノイズ除去を施し、全体的にズレていたピッチ修正をしたものが当店より『ZURICH 1972: RECORDER 1 (無料2CDR)』として発表され、以降これが現在に至るまでRecorder 1を代表するタイトルとして第一線を歩んできました。LP原盤ではなく大元テープからの収録だけあってアナログ盤より収録時間も大幅に長くなっており、LPでは途中でカットアウトしていた「The Great Gig In The Sky」をノーカット収録しているほか、「Money」もLPでは3分半程度でカットアウトしていたものが5分06秒と長く収録されていたり、「Us And Them」ではアナログ盤よりも出だしが約45秒間ほど長く収録されていた点がトピックとして挙げられるでしょう。また何よりも、LPと同じマスターでありながらジェネレーションの違いによって格段に優れた音質で収録されていた事は衝撃のアドヴァンテージでした。

一方、Recorder 2は早くから他レーベルによる音盤化が実現していましたが、2006年4月に現Sigmaの前身であるSireneレーベルより『ZURICH 1972 (Sirene-170)』が鮮烈にデビュー。これは録音者自身が持っていたオリジナルのマスターテープからデジタル化したもので、他レーベルの収録音とは音質差が歴然としていました。その原音力満点のサウンドはデビューにして頂点タイトルの座を獲得するに至り、用意した初回プレス分が瞬時完売
したエピソードが現Sigmaスタッフにも伝え残っているほどです。今回登場する本最新タイトルはこれら現存する2種ソースを最良の姿でカップリングさせたもので、Recorder 1にあった「Money」のカットアウトもRecorder 2で完璧に補填した究極の4枚組プレス盤となっているのです!!

【Recorder 1 : その再検証】

ディスク1と2には長い歴史を持つRecorder 1をパーフェクト・リビルドした、理想的な最終完成形を収録しています。基本的には前述したギフト盤『ZURICH 1972: RECORDER 1』に使用したソースを使っていますが、その立ち上がりからRecorder 1特有の中音域の厚みと深い奥行き、そして左右への膨らみを持った音像に一瞬で魅了されるでしょう。演奏は勿論のこと「Breathe」ではギルモアの歌声も大変近い位置から聴こえており、録音位置の良さも改めて伺える筈です。「On The Run」は、Recorder 2では各楽器の出音構成が精緻に追える音像となっていますが、このRecorder 1はそこに迫力のドライヴ感が備わった迫力の音像で、どちらも原録音の質の高さを感じられる一曲となっています。「The Great Gig In The Sky」ではRecorder 2で殆んど聴こえない声のモノローグSEがハッキリ聴こえるのがアドヴァンテージでしょう。勿論、初期アナログ盤に見られたカットアウトもここにはありません。「Money」にはRecorder 1最大の欠点である部分カットが存在しますが、この約1分間の欠落はRecorder 2から波形1000分の1でパーフェクトに補填。Recorder 2も同じくらい音質が良い為に全く違和感の無い完璧な繋ぎが史上初めて実現しています。「Us And Them」では演奏中盤で何らかの機材不良によるノイズ
(※ プラグの接触不良？)が聴こえる訳ですが、ここも現場で発生している音を冷静に吸い込んだ生々しさがRecorder 2の同部分以上に備わっていて、これがドキュメンタリー録音としても秀逸なソースであった事に改めて気付かれると思います。「Any Colour You Like」は雄弁に響くギターが当日、場内にどの様に響いていたかをつぶさに教えてくれますが、この現場感満点の空間性もRecorder 2とは器の違いが出ていて興味深いところです。「Brain Damage」も量感に優れたサウンドが耳をくすぐり、2声で進行するボーカルと通奏されるオルガンの響き(※ この質感の滑らかなこと!!)が眩しく反射する姿が聴き手の聴感評価をますます引き上げます。インターバル中にマイクの向きを変えたのか「One Of These Days」からはラウド感溢れる高解像サウンドになり、攻
撃的なベースがブリブリ響く中でこの日の挑戦的な演奏が聴けるのは鳥肌モノです。透明度では「Careful With That Axe, Eugene」導入部からその秘めたポテンシャルが更に牙を剥き、一瞬で変化する音響エネルギーをバッチリ捉えた音像に息を呑むこと請け合いです。「Echoes」も現場の音を存分に吸い込んだ生々しい音の波動でが耳元一杯に広がり、鳴き声のシーンに入る手前ではRecorder 2でも録り切れていないオルガンのか細い音までバッチリ聴こえる点に要注目でしょう。

【Recorder 2 : その再検証とSirene盤の完成度】

ディスク3と4は2006年にSireneレーベルより登場した『ZURICH 1972 (Sirene-170)』のストレート・コピーとなっています。「え、全く同じなの？」という意見も聞こえそうですが、これはそれだけあのSirene盤が突き抜けて完成度が高く、品質的にも確かなタイトルであった証ともなっているのです。実際、本作の企画が立ち上がってからSigmaスタッフ達によってSirene盤が再検証されたのですが、あまりにもパーフェクトなその音像と仕上がりは現代のサウンド・センスと技術を持ってしても手を加える余地が無く、録音者自身が持っていたオリジナルのマスターテープがどれだけ原音力に優れていたかを改めて物語る内容になっています。ちなみに他レーベルの音源では後半が1曲づつフェイドイン＆アウトを繰り返しますが、このSirene版はクロスフェイド処理によってノーカット収録されており、スムーズに聴ける点も大きなトピックです。Sirene盤は既に廃盤で入手も困難ですので、未入手の方は本作で是非その優れた音質に触れて戴きたいと思います。

そんなRecorder 2の魅力は何と言ってもRecorder 1以上に透明感溢れる音像、これに尽きます。序盤の数曲では音域の広さでRecorder 1に一歩譲る感じもあるのですが、それもショウが進むうちにRecorder 1を軽く超えますし、音の近さは冒頭から＋1～1.5ほどRecorder 2の方が勝っているのも嬉しいところでしょう。物足りなさを感じるのはRecorder 1に比べて音の軽さ＝中音域の量感が冒頭数曲で感じられない点ですが、この差が殆んど無くなってくるのが「Time」付近からで、曲の中盤(※ 特にギターソロの始まり付近)から音に重みがグッと増し、やがてRecorder 1と殆んど差がない音成分になってゆくのですから驚きです。「Money」は、Recorder 1のカット部分に補填されていたあの音をオリジナルの全長版で聴き通せるのが最大の魅力で、ボーカルの近さと残響感がRecorder 1より濃密に出ているのが特徴でしょう。「Any Colour You Like」は音量バランスがバッチリ合っているため(※ Recorder 1でのこの曲は定位は合っているものの、原音は極僅かに右側の入力が強めです)、聴き易さに優位性があり、聴く者の知性を深い充足感で一杯にしてくれるでしょう。「One Of These Days」もマッシヴなベースの躍動感がRecorder 1以上に近く鮮明で、ギターとオルガンの響きやモノローグの声も＋2ほど近く、音域の広さもここにきてRecorder 1を超えている事に気付かれる筈です。「Careful With That Axe, Eugene」では早くから騒がしくなるシンバルの動き(※ 2分23秒～)やロジャーによる詩の朗読の様なシーンでRecorder 1以上の聴き応えを持つに至り、この日の表現の数々が更に高い次元で味わえるでしょう。ただ「Echoes」はRecorder 1でも非常に良い録音で残っているため一概に甲乙付けられませんが、しかし2つの優れた音質でこの曲に肉迫出来る事こそが全ての既発盤には無い本作のアドヴァンテージであり、ここは両音源で贅沢な音のテイスティングをして戴きたいと思います。そして御存知の通りRecorder 2を特徴付ける最大のものが、この後に「Childhood’s End」が収録されている事です。恐らくこの録音だけにしか残っていない” もう一曲 “がノーカットで堪能出来る喜びは特別なものがありますし、曲の立ち上がりから滲み出る高い透明感、ひとつひとつの音の粒立ちと威力、そして何より歌声の近さと響きのなめらかさがRecorder 2を不滅のものにしていると改めて知るのです。

1つの公演を複数の異なる角度で考察すること。同日別ソースの醍醐味はまさにここにあります。熟練の聴き手の方は御存知と思いますが、ネット上にRecorder 2が登場した時、シーンは騒然としたものです。勿論それはRecorder 1に未収録だった「Childhood’s End」が含まれていたという事もありますが、それ以上に録音状態の良さ、すなわちRecorder 1と併せて聴く事でこの日の演奏に更に深い理解が得られるという” 知のざわめき “で、シーンが騒然とした訳です。これは言い換えれば両音源が比較考察に充分な音質の良さで残っていたからこそのざわめきと歓迎の音源史でもあった訳で、本作はその衝撃を最良の姿でカップリングさせたタイトルともなっているのです。どちらのソースにも優位性がある最良・最上の録音状態のものを、フロイド専門レーベルがその特性を充分精査したうえでプレス音盤化していますので、未知の上位ソースによるRecorder 3が発掘でもされない限りは今後も本作が72年チューリッヒの頂点タイトルであり続ける事は確実でしょう。是非今週末はこの最新作で72年冬の公演が何故特別に眩しかったのか、奇跡的に現存する最良の2ソースで多角的な考察を御愉しみ下さい!
Recorder 1
アナログ時代のライブ盤「Live in Zurich」(FROG RECORDS)で有名な録音盤の大元のテープソース

Disc 1(47:36)
The Dark Side Of The Moon
1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise) 6. The Great Gig In The Sky
7. Money ★5:06でカットアウトしてしまうので、4：49あたりから5：58あたりまで「Recorder 2」をクロスフェイド挿入・ノンカットを実現。自然に繋がっています。
8. Us And Them 9. Any Colour You Like 10. Brain Damage 11. Eclipse

Disc 2(47:03)
1. One Of These Days 2. Careful With That Axe, Eugene 3. Echoes

Recorder 2
後年登場したアンコール Childhood’s Endを含む107分に及ぶディフマスター

Disc 3(49:18)
The Dark Side Of The Moon
1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise) 6. The Great Gig In The Sky
7. Money 8. Us And Them 9. Any Colour You Like 10. Brain Damage 11. Eclipse

Disc 4(57:32)
1. One Of These Days 2. Careful With That Axe, Eugene 3. Echoes 4. Childhood’s End

Sigma 179