Paul McCartney / Closed Soundcheck At Tokyo Dome 10.30.2018 / 2CD

Paul McCartney / Closed Soundcheck At Tokyo Dome 10.30.2018 / 2CD / Non Label
Tokyo Dome, Tokyo, Japan 30th October 2018 (from Original Masters) & Original In-Ear Monitor Recording (Stereo)

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Translated Text:

From the fresh-up Japan tour, the rehearsal sound source that took two and a half hours carried out on October 30, the day before Tokyo Dome performance first appeared shocking! ! Moreover, amazing ultra high sound quality! !

Like last year’s arrival in Japan, Paul borrowed the venue before the Japan tour and performed a careful rehearsal just before the actual show this time. Unlike sound checks done before the regular live, it is a closed sound check that is not open to the public. The taper of the famous board “CLOSED SOUNDCHECK AT BUDOKAN 2017” that captured the sound check pattern at the Budokan in last year showed us a brilliant job again. The album was an epoch-making work that solved the dilemma of sound quality and rough texture which tend to be in the sound source which intercepted the sound check up until then via Iamoni, and still recorded in stereo. It was not only valuable content that unraveled the sound check pattern that can not be found out originally, it was also a finish that can be enjoyed from novices to maniacs. And this time catch the rehearsal of incandesement which was done the day before the start of the Japan tour with excellent sound quality!
Unlike last year’s Budokan rehe which was a special gig, this time it was done by borrowing the venue before the usual show, so to speak, a final rehearsal. Although the tour has already been started from September, it is definitely a pro as if you do not miss the review yet. So while relaxing than the actual, let’s listen to the tight performance while still listening to plenty of details.

Of the rehearsals contained in the two press CDs, the first half for the first half 40 minutes will be followed by settings and performances by the band members before Paul arrives at the venue. It’s sort of like getting ready before the boss arrives. Of course, not only the value as a document but also interesting scenes unique only from Rehi came in after the scene of Paul absence. In the past rehearsal sound source, there was a scene of checking after playing the original version of the Beatles as a reviewing material, but here after having played the intro of “A Hard Day’s Night”, the keyboard’s wick is the same song I am reviewing interlude. In addition, he practices even the phrase “NEW” which is not played on this tour in track 8. Even if it is not in the repertoire, you are making it possible to play anytime.
More interesting scenes appeared in this track 8 sequence. In past past Japanese performances closed sound sound source, band members played the phrase of “When The Levee Breaks” of Led Zeppelin and “Under Pressure” of Queen, but this time it is more astringent I can not miss listening to scenes that pluck the songs. It is a phrase that Rusty played while checking the Gut / Guitar used in “My Valentine” about 1:05 to 30 seconds from track 8. It was a passage of “Underture” from The Hoo’s album “TOMMY”. It will be a scene that makes music musicals grin on more than the ZEP and Queen numbers mentioned above. At the same time they can also be said that they are valuable scenes that prove that they are music lovers.
Speaking of this tour, the fact that a new change has occurred in Paul’s live sound as a result of the addition of three Horn corps has been talking about, but just a band member’s jam that was unfolding before the pole appeared They also participate. As sax added to the minor instruments jam, it transformed into a moudy and jazzy performance at a stroke. It creates an atmosphere enough to be formed as a musical piece after changing from merely an instrumental jam. Even at the scene before Paul joins like this, there are quite a lot to hear.

The appearance of Paul seemed to sound like checking indeed “Matchbox” started. It is noteworthy to evolve from the previous jam to a wide and rich sound of stereo at once. That natural stereo feeling is realized by the sound source provider with its own method and equipment, and I am clearing the image of the sound quality which is unreasonable with monaural sound source = monaural. We already realized our own stereo sound quality at last year’s “CLOSED SOUNDCHECK AT BUDOKAN 2017”, but this time we promise a natural stereo feeling with ultra-high sound quality sound source completely restored even to the dynamic range.
That stereo sound shows a more brilliant effect with the horn party joining Paul’s back. In “Letting Go” whose version has been upgraded by their participation, horn sounds are born alive. Moreover, throughout the whole, Ave’s drumming is also captured with a perfect balance. Both musical instruments are suppressed by broadcasting sound sources, etc., and they are often arranged, so this freshness is intense. Among them, the sound of Ave ‘s bass drum is not saturated and is captured at a large volume proves the superb ability of the backband.
Basically it is the final confirmatory rehearsal for the first day of the Japan Tour ahead of the next day, but when I enter the second disc, the repertoire of interest “I Do not Know” is. The album “EGYPT STATION” has a strong impression of a catchy sound of a song released as a single, but the entire album is dominated by calm tones like this song. Actually “I Do not Know” is also a calm music that leads the listener slowly at the beginning of the album, so there is little chance of being played on stage stage. Not only will Paul and the band hear such a high degree of completeness here, but also enjoy it with a wonderful stereo sound. Later on the second day of Tokyo Dome I played the VIP Audience in front of the sound check, but still it is impatient to not be played on stage stage.

The point that the live performance of “Back In Brazil” in which “Japanese first” is more consecutive than that was missed by this time’s performance in Japan, but instead of “Come On To Me” The consecutive call of “No. 1” added as an arrangement for Japan in the intro is already incorporated at this point. What is more interesting is that Paul has checked the acoustic “From Me To You” and Paul’s song “Here Today” even after checking “It’s the best!” Consecutive call was doing. This is a scene that seems to be really fun.
Its “From Me To You” is a Beetle Classic that was a hallmark of this tour, but here it is a rehearsal arrangement with different arrangements. It is a combination of a chindon-like rhythm and atmosphere, and additionally, Wicks blows song melody in harmonica instead of Paul singing. A number of various performances that Paul and the band changed playfully by playing the arrangement of the repertoire in the rehearsal from 1991 to 1993 with the radio program “OOBU JOOBU” were released, but this has a taste such as its 2018 edition.

Up to this point there are many relaxing scenes that seem to be rehearsing, but after the full band “Lady Madonna” it will be shown as if the incredibly playful performance is a convulsion. However, unlike the actual stage, all of the stage set does not operate, so naturally there is no explosion in “Live and Let Die”. It is pleasant that Paul mimics the explosion sound with his mouth by the side. Furthermore, after finishing “Helter Skelter”, it rushes into intense jam with the momentum as it is, but the guitar of Rusty and Brian resonates vividly in stereo. To that extent the balance of the whole band sound is well organized and you can appreciate the “music” named rehearsal without remembering the lack of dynamism and uncomfortable feeling that often occurs when matrixing multiple earphone sources Let’s see.
And at the end is rehearsal and unexpected engine full opening, “The End” at the moment the timing of returning from the drum solo is disturbed. Closing jam, which closes it, has plenty of room to spare, Paul noticed to Nori as if it were a DJ “Let’s meet again in the Tokyo Dome tomorrow, then let’s go out” then it’s a pity to finish with the words. In response to this Japan tour, Paul tells you that he was challenged full of motivation Hearing answer Sufficient sound documentary!

★ Complete Recording Machine with Multiple Sending Waves Simultaneously Catching and Matrixing
★ Modulation of monaural source to real stereo with proprietary equipment
★ Superb sound quality source of soundboard class that completely restored dynamic range


昨年の来日時がそうだったように、今回もポールはジャパン・ツアー開始前に会場を借りて本番直前の入念なリハーサルを行いました。それは通常のライブ前に行われるサウンドチェックと違って、一般に公開されないクローズド・サウンドチェック。昨年の武道館におけるサウンドチェックの模様を捉えた名盤「CLOSED SOUNDCHECK AT BUDOKAN 2017」のテーパーが再び見事な仕事ぶりを見せつけてくれました。同アルバムはそれまでのサウンドチェックをイヤモニ経由で傍受した音源にありがちなメリハリのない音質やざらついた質感といったジレンマを解消し、なおかつステレオで収録してみせた画期的な作品でした。本来なら窺い知ることが出来ないサウンドチェックの模様を解き明かしてくれた貴重な内容だけに留まらず、初心者からマニアまで楽しめる仕上がりでもあったのです。そして今回もジャパン・ツアー開始の前日に行われた白熱のリハーサルを素晴らしい音質でキャッチ!

二枚のプレスCDに収められたリハーサルの内、一枚目の前半40分はポールが会場に到着する前のバンドメンバーによるセッティングと演奏が続きます。それはボスが到着する前に準備万端としておくようなもの。もちろんポール不在の場面ながらドキュメントとしての価値だけでなく、リハならではの面白い場面が続出。過去のリハーサル音源でもおさらいの資料としてビートルズのオリジナルバージョンを流してから確かめるといった場面がありましたが、ここでは「A Hard Day’s Night」のイントロを流してみた後で、キーボードのウィックスが同曲の間奏を復習しています。さらに彼はtrack 8において、今回のツアーでは演奏されていない「NEW」のフレーズまでも練習。レパートリーになくとも、いつでも演奏できるようにしているのですね。
このtrack 8のシークエンスではさらに面白い場面が登場。これまでも過去の日本公演クローズド・サウンドチェック音源ではレッド・ツェッペリンの「When The Levee Breaks」やクイーンの「Under Pressure」のフレーズをバンドメンバーが弾く場面が捉えられていましたが、今回はもっと渋い曲を爪弾く場面が登場するから聞き逃せません。それはtrack 8の1:05から30秒くらい、「My Valentine」で用いたガット・ギターをチェックで鳴らしていたラスティが弾いたフレーズ。それは何とザ・フーのアルバム「TOMMY」から「Underture」の一節だったのです。先に挙げたZEPやクイーンのナンバー以上に音楽マニアをニヤリとさせてくれる場面でしょう。それと同時に彼らも音楽好きであることを証明してくれる貴重な場面だとも言えます。

ポールの登場はいかにもサウンドチェックらしく「Matchbox」からスタート。注目すべきは前のジャムから一気にステレオのワイドで豊かなサウンドへと進化すること。その自然なステレオ感は音源提供者によって独自の手法と機材によって実現したもので、イヤモニ音源=モノラルでメリハリのない音質というイメージを一掃。既に昨年の「CLOSED SOUNDCHECK AT BUDOKAN 2017」でも独自のステレオ音質を実現させていましたが、今回はダイナミックレンジまでも完全復元した超高音質音源かつ自然なステレオ感を約束します。
そのステレオ・サウンドはホーン隊がポールのバックに加わった曲でさらに鮮烈な効果を発揮。彼らの参加によってバージョンアップを遂げた「Letting Go」では生々しくも圧巻のホーン・サウンド。さらに全体を通してエイブのドラミングも迫力満点なバランスで捉えられています。どちらの楽器も放送用音源などでは押さえつけられ、なおかつ整えられてしまうことが多いので、この生々しさは強烈。中でもエイブのバスドラの音が飽和することなく大きな音量で捉えられているのはバックバンドの見事な力量を証明。
基本的には翌日に控えたジャパン・ツアー初日に向けての最終確認的なリハーサルとなっていますが、二枚目のディスクに入ると注目のレパートリー「I Don’t Know」が。アルバム「EGYPT STATION」はシングルとしてリリースされた曲のキャッチーなサウンドの印象が強いのですが、アルバム全体はこの曲のような落ち着いたトーンが支配している。実際に「I Don’t Know」もアルバム序盤でリスナーをゆっくりと導いてくれる落ち着いた楽曲ですが、それ故にステージ本番で演奏される可能性が少ない。そんな佳曲をポールとバンドはここで高い完成度を持って聞かせてくれるだけでなく、しかも素晴らしいステレオ・サウンドで楽しめるのです。後に東京ドーム二日目のサウンドチェックでVIPオーディエンスを前に演奏されましたが、未だにステージ本番で演奏されないのがもどかしいほど。

それ以上に日本語の「一番!」が連呼される「Back In Brazil」のライブ演奏が叶わなかった点が今回の来日公演で惜しまれましたが、代わりに「Come On To Me」のイントロで日本向けアレンジとして付け加えられた「一番!」の連呼は既にこの時点で組み込まれています。しかも面白いことに「一番!」の連呼が楽しくなってきたのか、ポールはアコースティックな「From Me To You」やポールの弾き語り「Here Today」のチェックを終えたに後でも「一番!」連呼していました。これは本当に楽しそうな場面。
その「From Me To You」は今回のツアーにおける目玉となったビートル・クラシックですが、ここではリハらしくアレンジを変えて演奏。それがチンドン屋っぽいリズムと雰囲気が合わさり、おまけにポールが歌う代わりにウィックスが歌メロをハーモニカで吹くという傑作な演奏。かつてラジオ番組「OOBU JOOBU」で1991年から93年にかけてのリハでポールとバンドがレパートリーのアレンジをふざけて変えたさまざまな演奏がいくつも公開されましたが、これはその2018年版といった趣が。

ここまではいい意味でリハらしいリラックスした場面が多く登場しましたが、フルバンドの「Lady Madonna」以降は本番さながらの白熱した演奏が畳みかけるかのごとく披露されます。とはいっても本番と違ってステージ・セットのすべてが稼働しないリハですので、当然「Live and Let Die」における爆発の演出はなし。それを逆手にとってポールが口で爆発音を真似ているのが楽しい。さらに「Helter Skelter」を終えた後、そのままの勢いで激しいジャムへと突入しますが、ラスティとブライアンそれぞれのギターがステレオで鮮烈に鳴り響く。それに何と言ってもバンドサウンド全体のバランスが上手くまとめられており、複数のイヤモニ音源をマトリクス化した際に起こりがちなダイナミズムの欠如や違和感を覚えずにリハーサルという名の「音楽」を鑑賞できるでしょう。
そして最後はリハとは思えないほどのエンジン全開ぶり、「The End」では勢い余ってドラムソロから戻るタイミングが乱れるほど。それを締めくくるクロージング・ジャムは余裕たっぷりで、ノリにノッたポールがまるでDJのように「また明日も東京ドームで会いましょう、それではごきげんよう!」と台詞を決めて終えるのがサイコー。今回のジャパン・ツアーに対し、ポールがやる気満々で挑んでいたことを伝えてくれる聞き応え十分のサウンド・ドキュメンタリー!



Disc 1 (75:48)

Instrumental Soundcheck

1. Soundcheck 2. A Hard Day’s Night 3. Come On to Me 4. Fuh You 5. Something
6. Saxophone / Guitars / Drums 7. Drums (Come On to Me) 8. Guitars / Drums / Keyboards
9. Instrumental Jam

With Vocals

10. Matchbox 11. Honey Don’t 12. Come On to Me (Intro) 13. Come On to Me 14. Letting Go
15. Who Cares (Intro) 16. Who Cares 17. Come On to Me 18. A Hard Day’s Night
19. My Valentine

Disc 2 (74:36)

1. Nineteen Hundred and Eighty-Five 2. Maybe I’m Amazed 3. I Don’t Know 4. I Don’t Know
5. I’ve Just Seen A Face 6. From Me to You (Instrumental) 7. From Me to You
8. Come On to Me (Intro) 9. Come On to Me (Intro) 10. Guitar Session
11. Blackbird 12. Here Today / Come On to Me (Intro) / Paul talks (明日のライヴについて)
13. Lady Madonna「マイテンポ!」 14. Fuh You 15. Ob-La-Di, Ob-La-Da
16. Let It Be 終わりに「It’s Christmas!」17. Live and Let Die
18. Live and Let Die Jam 19. Live and Let Die Jam
20. Sgt Pepper’s Lonely Hearts Club Band (Reprise) (Intro)
21. Sgt Pepper’s Lonely Hearts Club Band (Reprise) 22. Helter Skelter
23. Helter Skelter (Intro) 24. Helter Skelter Jam 25. Golden Slumbers
26. Carry That Weight 27. The End
28. Jam Finale ★ポールの御機嫌の言葉も雰囲気抜群でこの素晴らしい一枚を閉めてくれる。

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