GiGinJapan Artwork of Japanese CDs (mostly) Pink Floyd / Pink Floyd (KP339-KP344) / 3CD / Sigma
Translated Text:
Taken From the original 3LPs “Pink Floyd”(KP339-KP344)
Finally it appeared in genuine realistic sound !! Pink Floyd vision of rare record is
Rare boards and Rhea boards and Megarea board …. It is a word that was relatively Miminare the collector regardless of the official board and informal record, but, in this and Floyd Viniru board boot leg of thing that exists quite the board to stick with such an adjective. In a place famous, known only in the “THE BEST OF TOUR ’72 (KDBO 1034 a / b)” and “CRACKERS (TAKRL 3969)”, “LIVE IN ROTTERDAM (H 1007)”, or the title without label number “M- 502 There is a (M-502-1 / 2/3/4 /), “such as those, but without a title by pressing the record at their own expense is in, without even Jacquet, besides the fellow without also sold in the shop handed out by only of Hakone Aphrodite sound source, known as “PEACE (?) RECORD” was terminated because you exist until complete Puraiveto board, is a hard time just to cover the items. And the other one in such, will also be noted in 1971 and the set of three that was recorded in Osaka performance of 72-year Viniru board boot leg LP “Pink Floyd (KP339-KP334),” there was that. This title which is commonly called “Osaka triple” in Japan, 1972 was written rare in rare among Viniru board boot leg of Floyd, also a review of the magazine beatleg and “phantom panel” to (estimated) is the release of the title . Earnest Floyd if those who have been a collection this is first, but that it is the most difficult board are not available I think your understanding they qualify, which was reprinted from our Sigma label is borrowed master ” OSAKA TRIPLE (Sigma 44) “was the world’s first digitized with the title was that of July 2009. As expected This release became the CD title that was enthusiastic Floyd collectors around the world.
But that “If OSAKA TRIPLE” All things that the was heard, I think we have embraced the many years some one speculation. It “but it is understood that the precious, sober sound” is the sound image of. “OSAKA TRIPLE” board that was used in, but we use the kind of the above-mentioned “vision board” that the “Pink Floyd (KP339-KP334)”, the reproduction number of times but the borrowed the master had a one owner goods the one sound image were many were those leaving certainly sober impression. Also because it is seven years ago of playback equipment, the image of the reproduced sound even at that point of view might have lacked freshness. But just the other day, I one of ordinary Sigma staff was miraculously own obtain this master LP from a certain route. And was consternation was the disk condition. Although Jacquet’s exterior was some aging, nearly untouched master in is, of it what label spindle mark is not found also devoted to, was something of a state best not safely be almost say that mint condition is. This is of course, but is a translation also expected to sound coming out of the board is be popular, realistic sound the sound that came out from the speakers is expected here, that is to blow off the sound image that was accustomed to listen in Sundehatsuban “OSAKA TRIPLE” It was a shock. In other words, the board is the proximity of the sound output, which was equipped with the original, clearly feeling the outline of the performance sound has come out more clearly, wide feeling of the sound image to film in all directions to spread like peeled off a piece, in everywhere in its outstanding panel none of the trace noise due to the rotation of the board which was conspicuous, and I mean that there is no strength blur in sound output has come out clearly in more than anything all of the scene. This is the difference between the apparently record of frequency of use, but is the difference between the playback environment equipment with the latest high-end equipment that is progress and evolution in the last seven years, press the “vision board” in this upper sense pervade new available on the latest digital technology the latest of those containment to the advent of this time, “Pink Floyd (KP339-KP344)” that you !!
And in order to put a big ad Vantage by its outstanding album “OSAKA TRIPLE”, this time also has been reprinted in full jacket. It is obvious if you look at the listed Jacquet image, but the title is not, a thing of the only paper that band name and the music was written has been placed in a brown paper bag of the exterior. Although back Jake is equal to not than only has continued until the back as it is a bag of brown, from the record of the black label is in three pieces with serial number entering (※ 1 sheet of A surface “KP339” in this tea bag beginning, ending in 3rd last F surface is “KP344”) thing that only simple. Also as a convention of the time to faithfully reprinted these Viniru board boot leg, How can this work also are recorded in CD3 sheets recording the order pursuant to its outstanding panel likewise this three Original, the other in this work one point, was reproduced the original fidelity. It is that the “scat of the Void,” which had been split recorded the late part at the beginning of the first half part · F surface at the end of the E-plane in relation to the Duration of the record, and track divided into surface split street. Sundehatsuban but is a translation that has been in one song treats were combined and this scene, this is why the new track is it has the handling of two songs worth as master is increasing one. In addition to only in the board of the state is in so to superb, also unnecessary equalization processing other than pitch adjustment does not have any this time. Sundehatsuban “OSAKA TRIPLE” than even pitch adjustment was transfer in a completely non-equalize, but it is also the same exactly the same this time. But precisely because it is exactly the same process, and the freshness difference of its outstanding board your have reproduced sound emanating from two of the same master to those who, enjoy a sense of upper is you can see clearly due to be digitized with the latest equipment of 2016 is a translation that is to like, but it would first ensure that the sound-image that has received the sober impression with its outstanding panel if you listen this be overturned big. In thus the description of each newly appointed board, let’s Yuki to introduce your while compared with Sundehatsuban “OSAKA TRIPLE” is from here.
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“Disc 1”
X1-A (Side A) KP339
1. “Simba line” … August 9, Osaka Festival Hall 1971
2. “mystery” … 1972, March 9, Osaka Festival Hall
X1-B (Side B) KP340
3. “wobbling of the sun in the fat” … August 9, Osaka Festival Hall 1971
4. “Atom Heart Mother” … 1972, March 9, Osaka Festival Hall
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Disc 1 is the A-side and B-side of the first sheet master, 71 years and four songs from Osaka performances of the year 72 has been select. You come out bleeding dense sound from the beginning in the first 71 years of the “Simba line,” but, attention would be its vividness and spread. In particular, the high range is out to clear more than already issued board, we totally completely different impression to the already sound image that was somewhat of a sense of stagnation. Middle of climax (※ 3 minutes and 46 seconds to) even organ is spread and thickness to the tone of the scene that claims increased, what is revived in a more vivid sound even sigh it should be seen vividly. Also it has appeared in the subtle fluctuations even further vividness of the master tape original sound in several locations in interesting places, which also has become a thing that can feel the condition difference of the board. “Mystery” from the 1972 Osaka the second day, but also to the sound of the organ that crawl through the heaviness that was overcast in the introductory part there is a sense of upper, decisive difference would be slapping sound of the drum. Has increased the clarity of feeling as seen in intuition Ichida Ichida, the effect of distorted guitars and VCS3 behind also been improved opacity feeling of the sound image is considerable, it should become more and more you feel the board of ability. The second half is also the last part Yuku been derived from the organ significantly to improve the sound image, a scene in which the slide guitar Yuku been out loudly sing (※ the vicinity of 11 minutes 08 seconds to) such as glare film that had been covered up to now has been taken It appeared, even then of sharpness and behind the ensemble of Gilmore of guide vocal would check it because it has come out clearly the outline of further sound of. “Wobbling of the sun in the fat” of 71 August again first, period dial tone of the record board, which was present in 00 minutes 05 seconds to 08 seconds eyes Sundehatsuban has gone to clean. Also high resolution tone different from that vividness of the sound output from the rising edge of the track introduced, including the prominence, entangled like guitar solo also sound output to the sense of distance and the sound of fineness feel let was its outstanding panel of the reproduced sound It has come out to strengthen. Sight of that lovely melody shakes brilliant sharpness and density has increased sound image of each of the second half of the organ solo is also one sound is a rarity. “Atom Heart Mother” also would if it had come out from a distance with the reproduced sound of its outstanding panel is how muffled seen clearly to anyone’s ears. The middle of the guide vocal (※ 4 minutes and 51 seconds to) is also a clear, how to be sung in a rare pitch and pagination for this day unique will come out in a more dazzling sound. Of guitar to expand from 10 minutes and 36 seconds sang also has improved sound way of bass and drums behind, even vaguely listen up painful organ appear in a tone that its smooth sound stood the original slip master is.
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“Disc 2” – 1972 March 8, Osaka Festival Hall
X2-A (Side C) KP341
X2-B (Side D) KP342
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From the disk 2 in the pattern of the second half show of 72 years March 8, in Osaka the first day that it can be said that the main part, the equivalent of the second piece · C surface and D surface of the master. First, “to blow, wind, Yobeyo storm” and differ in vividness and from the sound of wind in the introduction in, the sound difference when the base starts moving will be more and more decisive. Although this street you know this song bass sounds, noticeable to the board of the trace noise is more than that in the pre-departure board, it had been Mokomoko sound in the muffled feeling. But in this work is that revived the board original vivid clarity in a dynamic texture and motility of the bass, you music of the original charm has become a sound image that can be realized in the fastball. It is a simple difference, but whether this difference will not be greater. Mawari splashes in the vicinity of the finale, sound is violently transitory and the performance of the brushwork of the base also represented the sound of Roger unique to portamento is also topics that enjoy to the full extent. Of “Eugene” in the song “!! came came Tsu … Kowaa …. Ah,” at the same time to have begun, contains a fresh murmur take also the admiration with fear by either recording people around the person but, thus it is realistic shock appearance of this song that gave the thrill feeling only scene by the sound in the venue has been revived in the sound image of the mystique perfect score. Musical breathing of the day which made full use of the gap between the sound of space property and sound breathes more and more vividly, the more even flow to end the scourge Yuku converges slowly scatter away is its outstanding panel to dramatic scene sound it now has. “Echoes” will come out trace noise is slightly in the early stages of the static clef, but the performance sound in its outstanding board and it is too conspicuous would lose to the noise, the first half had weakly hearing recessed. However, in the board of the state best of this work is out with a tone glossy that contains the core in dampers, also is heard firmly each other tapestries subtle entanglement – of each instrument before entering the song. Middle in a while a scene to be baseless (near ※ around 11 minutes 49 seconds to 12 minutes 08 seconds. Intentionally? Equipment trouble?) Also, surprise not accustomed to hear due to the fact that the bass is no longer flows in the Upper sound of fascination, singing sound output of the melody comes also out than to clear up this. Albatross of cries scene also filled with a sound that is aroused inspiration is more than its outstanding record, but the first place you should close of-sharpness of the sound output of the cries = guitar is stunned to be played in completely different. This is also, it would be a good example of the difference in the environment of the condition and playback equipment to the same record comes out. Finale portion is also firm will receive a weak series of each instrument, are quite unlike its outstanding sound was a feeble sound output lacks resolution.
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Disc 3 – “The Dark Side Of The Moon”
8 days and Osaka Festival Hall March 1972
X3-A (Side E) KP343
X3-B (Side F) KP344
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Disk 3 is “madness” full reproduction of the prototype version, the original as you know is the show the first half of the day. “Speak to Me” is in its outstanding panel was noticeable trace noise, here in the flow in the sound image of no clarity perfect score of noise, easy to spread to the range in all directions is vividly improvement you will be able to understand. Is just to be sure, but not in a particularly re-master, there is so much difference in the state of iodine is phenomenal. Smooth sound proceeds while maintaining a beautiful spread of the “breath of life” is also not yet experience, sound of Gilmore of the singing voice and the base line has increased with a jerk of the resolution. “Time” is a 1-minute Gosogoso sound of 26 seconds to 27 seconds and the rubbing of the sound that is a moment in 2 minutes and 36 seconds, but is as it is, a prototype version of the peculiar Kyokuso with reduced intonation is revived in rich texture, reverberation of sound and sound that between the lines of, or the sound and the sound came to be able to further enjoy has become the largest harvest. “Scat of the Void” is according to it also this work in order to face the split of the phonograph record (※ following the F surface from the E-plane) has occurred here, we split the track in the first half and the second half. The number of tracks than its outstanding panel was one track to handle is the fact that one more, we regained the faithful figure to master even on credit. At the same time have regained the joy in music, the prototype stage-specific that Kyokuso is floating in the sound with the original strong lingering master. “Money” has also regained a clear feeling and singing voice of the contour sharpness of the register sound, organ entering from 2 minutes and 38 seconds, strong tone sound fineness of the line was felt recessed is the core of a hard until this in has come out, but this does not in any way in the re-master effect. “The color of hope,” also will be seen clearly that the sound increases the texture of the guitar is out in front. Along with the guitar “♪ Tururu .. Turarara …” with the guide vocal (※ perhaps of Gilmore), but contains, this is also to Check it a point to listen further clear, the movement of the ensemble to become prominent in the second half gender also lifted in a more clear sound. “Madman in the mind” also sound output singing voice of the beginning of Roger was a muffled feeling in its outstanding panel is in the board originally transparent sound, but also figure that would turn now swim the tone of the organ difference has come out remarkably, When it comes to the “madness eclipse” of the last it has been close of is much improvement in the spread-sound output of vividness range of the siren sound and the singing voice, would be sure to wind the tongue up to the moment of the disk end.
It is about 45 years before the recording and the LP board, because probably many people you know the sound in its outstanding board, this does not deny that is basically a vintage sound. But the sound image that this only a clear upper sense to not even necessarily subjected to a deliberate re-master can be felt in all of the scene is really shocking. Air feeling of the place to strike a fresh fluctuation styles and dense sound of sepia hanging tape original sound, and closeness and clarity feel of the original performance sound is out with a record high of tone undoubtedly, This is what we are special I think that is an appropriate Floyd vintage sound of the Japan tour in wins everyone mUST be assent. About even life of the board to sleeping have been true to the romantic sound 45 years, this weekend try drawer it all means in this latest installment. Is a real sound Megarea board of legendary shoot may be listening curiosity of what things, but not of my chest is overwrought in unawares such added value in one proceeding to hear, Floyd is 45 years ago of whether performance was left behind in Japan it had hit a how dazzling shine, you should have been deprived mind what to pure admiration and rediscovery.
ピンク・フロイド幻のレア盤が遂に本物のリアル・サウンドで登場致します!!
レア盤・激レア盤・メガレア盤・・。公式盤・非公式盤に係わらずコレクターには比較的耳慣れたワードですが、ことフロイドのヴィニール盤ブートレッグにはそんな形容詞の付く盤が結構存在するものです。有名なところでは『THE BEST OF TOUR ’72 (KDBO 1034 a/b)』や『CRACKERS (TAKRL 3969)』『LIVE IN ROTTERDAM (H 1007)』、またはタイトルが無くラベル番号のみで知られる『M-502 (M-502-1/2/3/4/)』といったものがありますが、中には自費でレコードをプレスしてタイトルも付けず、ジャケすら無く、そのうえショップで販売もせずに仲間内に配って終了しただけの箱根アフロディーテ音源・通称” PEACE (?) RECORD “なる完全なプライヴェート盤まで存在しますから、アイテムを網羅するだけでも一苦労です。そしてそんな中にもう一つ、1971年と72年の大阪公演を収録した3枚組のヴィニール盤ブートレッグLP『Pink Floyd (KP339-KP334)』があった事も特記されるでしょう。日本では通称” 大阪トリプル “と呼ばれるこのタイトルは、フロイドのヴィニール盤ブートレッグの中でもレア中のレア、専門誌beatlegのレビューでも” 幻盤 “とまで書かれた1972年（推定）リリースのタイトルです。本格的にフロイドのコレクションをされている方であればこれがまず入手不可能な最難関盤である事を御理解戴けるかと思うのですが、これを当Sigmaレーベルが借り受けた原盤から復刻して『OSAKA TRIPLE (Sigma 44)』というタイトルで世界初デジタル化したのは2009年7月の事でした。予想通りこのリリースは世界中のフロイド・コレクターを熱狂させたCDタイトルとなったのです。
でもその『OSAKA TRIPLE』を聴かれた事がある方ならば、長年或るひとつの思惑を抱かれていたのではないでしょうか。それは「貴重というのは判るが、地味な音」というサウンド・イメージです。『OSAKA TRIPLE』で使用した盤は前述した” 幻盤 “こと『Pink Floyd (KP339-KP334)』の現物を使用していますが、その借り受けた原盤はワン・オーナー品ではあったものの再生回数が多かったのか音像は確かに地味な印象を残すものでした。また7年前の再生機材ですから、その観点でも再生音のイメージは新鮮さに欠けていたのかもしれません。しかしつい先日、当Sigmaスタッフの一人がこの原盤LPを或るルートから奇跡的に独自入手したのです。そして仰天したのはそのディスク・コンディションでした。ジャケの外装は若干の経年劣化があったものの、中の原盤はほぼ手付かずの、それこそラベルにスピンドル・マークが一筋も見当たらない、殆どミント状態と言っても差し支えない状態極上のものだったのです。これは当然、盤から出てくるサウンドにも期待が持てる訳ですが、スピーカーから出てきたそのサウンドはこちらの予想、つまりは既発盤『OSAKA TRIPLE』で聴き慣れた音像を吹き飛ばすリアル・サウンドの衝撃だったのです。すなわち、盤が本来備えていた出音の近さ、演奏音の輪郭がよりハッキリ出ている明瞭感、全方向に膜が一枚剥がれた様に広がる音像のワイド感、既発盤では随所で目立っていた盤の回転によるトレース・ノイズの皆無さ、そして何よりも全てのシーンで出音にブレの無い強さがハッキリ出ていた訳です。これは明らかに盤の使用頻度の差と、この7年間で進歩・進化した最新ハイエンド機材による再生環境設備の差ですが、このアッパー感漲る新入手の” 幻盤 “を最新のデジタル技術でプレスに封じ込めたものが今回登場する最新作『Pink Floyd(KP339-KP344) 』なのです!!
そして既発盤『OSAKA TRIPLE』により大きなアドヴァンテージを付けるべく、今回はジャケットも完全復刻しています。掲載されたジャケ画像を御覧戴ければ一目瞭然ですが、タイトルは無く、バンド名と曲目が書かれた紙が外装の茶色いペーパー・バッグに貼られているだけのものです。裏ジャケは茶色の袋がそのまま裏まで続いているだけなので無いに等しいですが、この茶袋に黒ラベルのレコードが通し番号入りで3枚入っている(※ 1枚目のA面が” KP339 “から始まり、3枚目最後のF面が” KP344 “で終る)だけの簡素なものです。またこうしたヴィニール盤ブートレッグを忠実に復刻する際の約束事として、本作も既発盤同様にこの3枚のオリジナル盤に準ずる収録順でCD3枚に収録してあるのですが、本作ではもう一点、オリジナルの忠実さを再現しました。それはレコードの収録時間の関係でE面の最後に前半パート・F面の冒頭に後半パートを分割収録していた「虚空のスキャット」を、面割通りにトラック分けした事です。既発盤はこのシーンをコンバインして1曲扱いにしていた訳ですが、今回は原盤通り2曲分の扱いにした事で新たにトラックが1つ増えている訳です。また盤の状態がそうして極上であるだけに、今回もピッチ調整以外の不必要なイコライズ処理は一切していません。既発盤『OSAKA TRIPLE』もピッチ調整以外は完全にノン・イコライズでトランスファーしましたが、今回もそれと全く同じです。しかし全く同じ処理であるからこそ、既発盤をお持ちの方には2つの同じ原盤から出る再生音の鮮度差と、2016年の最新機材でデジタル化した事によるアッパー感がハッキリお判り戴ける様になっている訳ですが、これを聴けば既発盤で地味な印象を受けたサウンド・イメージが大きく覆されることはまず確実でしょう。ではそうして新たに整えられた盤ごとの解説を、ここからは既発盤『OSAKA TRIPLE』と比べながら御紹介してゆきましょう。
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《Disc 1》
X1-A (Side A) KP339
1.「シンバライン」…1971年8月9日・大阪フェスティバルホール
2.「神秘」…1972年3月9日・大阪フェスティバルホール
X1-B (Side B) KP340
3.「デブでよろよろの太陽」…1971年8月9日・大阪フェスティバルホール
4.「原子心母」…1972年3月9日・大阪フェスティバルホール
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ディスク1は原盤1枚目のA面とB面で、71年と72年の大阪公演から4曲がセレクトされています。まず71年の「シンバライン」では冒頭から濃密なサウンドが滲み出てきますが、注目はその鮮やかさと広がりでしょう。特に高音域は既発盤以上に鮮明に出ており、全体的にやや閉塞感のあった既発音像とは印象が全く違っています。中盤の盛り上がり(※ 3分46秒～)もオルガンが主張するシーンの音色に広がりと厚みが増し、吐息もより生々しいサウンドで甦っているのが如実に分かる筈です。また面白いところでは数箇所にあるマスターテープ原音の微妙な揺らぎも更なる生々しさで現れており、これも盤のコンディション差を実感出来るものとなっています。72年大阪2日目からの「神秘」は、導入部のドンヨリした重苦しさの中を這うオルガンの響きにもアッパー感がありますが、決定的に違うのはドラムの打音でしょう。直感で分かるほど一打一打の明瞭感が増しており、背後にある歪んだギターやVCS3による効果も音像の混濁感がかなり改善され、盤の実力をますますお感じになる筈です。後半でオルガンから導かれてゆく最終パートも音像の向上が著しく、スライド・ギターが高らかに歌い出してゆくシーン(※ 11分08秒付近～)などはこれまで覆われていた膜が取れた眩しさで登場し、その後のギルモアのガイド・ボーカルの鮮明さや背後のアンサンブルも更に音の輪郭が鮮明に出ていますので要チェックでしょう。再び71年8月の「デブでよろよろの太陽」はまず、既発盤00分05秒～08秒目に存在していたレコード盤の周期発信音が綺麗に無くなっています。またそれを含むトラック導入の立ち上がりから出音の鮮やかさが際立ち、絡み付く様なギターソロも出音に距離感と音の細さを感じさせた既発盤の再生音とは違う高解像な音色が強めに出ています。後半のオルガン・ソロも一音ごとの鮮やかな鋭さと密度が増した音像であの麗しい旋律が揺れる姿が絶品です。「原子心母」も既発盤の再生音がいかに篭って遠目に出ていたかが誰の耳にもハッキリ分かるでしょう。中盤のガイド・ボーカル(※ 4分51秒～)も鮮明で、この日ならではの珍しい音程と区切りで歌われる様子が一層眩しいサウンドで出てきます。10分36秒から展開するギターの歌い上げも背後にあるベースとドラムの鳴り方が向上しており、ぼんやりと聴き取り辛かったオルガンもその滑らかな響きが原盤本来のスッと立った音色で現れるのです。
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《Disc 2》 – 1972年3月8日・大阪フェスティバルホール
X2-A (Side C) KP341
X2-B (Side D) KP342
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ディスク2からは本編と言える72年3月8日・大阪公演初日のショウ後半の模様で、原盤の2枚目・C面とD面に相当します。まず「吹けよ風、呼べよ嵐」では導入の風の音からして鮮やかさが違っており、ベースが動き出すとその音像差がいよいよ決定的になります。御承知の通りこれは低音が響く曲ですが、既発盤では盤のトレース・ノイズがそれ以上に目立ち、音が篭り気味でモコモコしていました。でも本作では低音のダイナミックな質感と運動性に盤本来の鮮やかな透明感が甦った事で、楽曲本来の魅力が直球で実感出来る音像となっているのです。単純な違いですが、この差は大きいのではないでしょうか。終曲付近で跳ね回り、音を激しくポルタメントさせるロジャーならではのベース表現も音の移ろいと演奏の筆致が存分に味わえる点もトピックです。「ユージン」では曲が始まったと同時に「来たッ…怖ァ….あぁ来た!!」という、周囲の人物か録音者による恐怖とも感嘆とも取れる生々しい呟き声が入っていますが、そうして音による情景だけでゾクゾク感を会場中に与えたこの曲のリアル・ショックな姿が神秘性満点の音像で甦っています。響きの空間性と音の間隙を駆使したこの日の音楽的な呼吸がますます生々しく息衝き、惨劇がゆっくりと収束してゆく終盤への流れも既発盤が消し飛ぶほどドラマチックな現場サウンドになっています。「エコーズ」は序盤の静音部でトレース・ノイズが若干出ていますが、既発盤ではそれが目立ち過ぎて演奏音がノイズに負けてしまい、前半が奥まって弱弱しく聴こえていました。しかし盤の状態最高の本作では弱音でも芯の入った艶のある音色で出ており、歌に入る前の各楽器の微妙な絡み合い・綴れ合いもしっかり聴き取れます。中盤で暫くベースレスになるシーン(※ 11分49秒付近～12分08秒付近。故意？ 機材トラブル？)も、低音が無くなった事による聴き慣れない驚きが魅惑のアッパー・サウンドで流れ、歌唱メロディの出音もこれまでより鮮明に出てきます。アホウドリの鳴き声シーンもインスピレーションを掻き立てられる響きが既発盤超えで充満しますが、そもそも鳴き声＝ギターの出音の間近さ・鋭さが全然違って再生される事に唖然とされる筈です。これもまた、同じレコードなのにコンディションと再生機材の環境で差が出る良い例でしょう。終曲部も微弱な各楽器の連なりがしっかり届き、解像度に欠ける弱々しい出音だった既発サウンドとは全く違っています。
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Disc 3 – ” The Dark Side Of The Moon ”
1972年3月8日・大阪フェスティバルホール
X3-A (Side E) KP343
X3-B (Side F) KP344
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ディスク3はプロトタイプ版の『狂気』完全再現で、御存知の通り本来はこの日のショウ前半です。「スピーク・トゥ・ミー」は既発盤ではトレース・ノイズが目立ちましたが、ここではノイズの無い透明感満点の音像で流れ、音域全方向への広がりが鮮やかに向上しているのが容易に理解出来るでしょう。念の為ですが特にリマスターはしておらず、素の状態でこれだけ差があるのは驚異的です。「生命の息吹き」も未体験の滑らかなサウンドが美麗な広がりを保って進行し、ギルモアの歌声やベースラインの響きが解像度をグッと増しています。「タイム」は1分26秒～27秒のゴソゴソ音と2分36秒に一瞬ある音の擦れはそのままですが、抑揚を抑えたプロトタイプ版特有の曲想が質感豊かに甦り、音と音の余韻・或いは音と音の行間が更に堪能出来る様になった事が最大の収穫となっています。「虚空のスキャット」はレコード盤の面割(※ E面からF面に続く）がここで生じているため本作もそれに準じ、トラックを前半と後半に分割しています。1トラック扱いだった既発盤よりトラック数が1つ増えた事で、原盤に忠実な姿をクレジット上でも取り戻しました。同時に音楽的にもその喜びを取り戻しており、試作段階特有のあの曲想が原盤本来の強い余韻を伴う響きで浮き上がります。「マネー」もレジスター音の明瞭感や歌声の輪郭が鮮明さを取り戻しており、2分38秒から入るオルガンも、これまで奥まって線の細さが感じられたサウンドが硬質で芯の強い音色で出ていますが、これも決してリマスター効果ではありません。「望みの色を」もギターの質感が増して音が手前に出ているのがハッキリ判るでしょう。ギターと一緒に「♪ トゥルル..トゥラララ…」とガイド・ボーカル(※ 恐らくギルモアの)が入っていますが、これが更に鮮明に聴ける点も要チェックですし、後半で顕著になるアンサンブルの運動性もより明瞭な音で浮き上がっています。「狂人は心に」も既発盤で篭り気味だった序盤のロジャーの歌声が盤本来の透明な音で出音し、オルガンの音色が泳ぎ移ろう姿も違いが顕著に出ていますが、ラストの「狂気日食」に至ってはサイレン音と歌声の鮮やかさ・レンジの広がり・出音の間近さが格段に向上しており、ディスクエンドの瞬間まで舌を巻くこと確実でしょう。
約45年前の録音とLP盤ですし、既発盤でサウンドを御存知の方も多いでしょうから、これが基本的にはヴィンテージ・サウンドである事は否定しません。しかし意図的なリマスターを施した訳でもないのにこれだけ明確なアッパー感が全てのシーンで感じられる音像は実に衝撃的です。セピア色掛かったテープ原音の生々しい揺らぎ方や濃密な響きを醸し出す場の空気感、そして演奏音本来の近さと明瞭感は間違いなく過去最高の音色で出ており、これこそ私達が特別な思いを馳せるに相応しいフロイド日本公演のヴィンテージ・サウンドであると誰もが御納得されるに違いありません。約45年間も盤に眠っていた真にロマンティックな音の営み、今週末はそれを是非この最新作で引き出してみて下さい。伝説のメガレア盤が放つ本物のサウンドがどんなものかという好奇心から聴くのも良いですが、しかし聴き進むうちにいつしかそうした付加価値で自分の胸が高ぶっているのはなく、フロイドが45年前の日本で遺した演奏がどれほど眩い輝きを放っていたかという、純粋な感嘆と再発見にこそ心奪われている筈です。
Disc 1 (58:09)
X1-A (Side A) KP339
Festival Hall, Osaka, Japan 9th August 1971
1. Cymbaline ★既発は曲のエンディングをフェード(無音)処理してある – レコードが走っているので厳密には既発は欠落。
Festival Hall, Osaka, Japan 9th March 1972
2. A Saucerful Of Secrets
X1-B (Side B) KP340
Festival Hall, Osaka, Japan 9th August 1971
3. Fat Old Sun ★既発の0:08辺りの周期発信のノイズが一切無し。（盤質の良好さ伺える。）既発は曲のエンディングをフェード(無音)処理してある – レコードが走っているので、既発は厳密には欠落。
Festival Hall, Osaka, Japan 8th March 1972
4. Atom Heart Mother
Disc 2 (50:03)
X2-A (Side C) KP341
1. One Of These Days 2. Careful With That Axe, Eugene
X2-B (Side D) KP342
3. Echoes
Disc 3 (50:08)
The Dark Side Of The Moon
X3-A (Side E) KP343
1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise) 6. The Great Gig In The Sky
X3-B (Side F) KP344
7. The Great Gig In The Sky(end part) 8. Money 9. Us And Them 10. Any Colour You Like
11. Brain Damage 12. Eclipse
Sigma 158
