Paul McCartney / Nagoya Dome 2018 Original In-Ear Monitor Recording / 2CD

Paul McCartney / Nagoya Dome 2018 Original In-Ear Monitor Recording / 2CD / Non Label
Live at Nagoya Dome, Nagoya, Japan 8th November 2018 Original In-Ear Monitor Recording (Stereo)

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What called the reputation of only “RYOGOKU KOKUGIKAN 2018: ORIGINAL IN – EAR MONITOR RECORDING” with a feeling of being a masterpiece of rareness is that it is common in the so-called Iamoni recording, “clearance only stands out in vain” or “skusca It was a result of a splendid finish that wiped out the dilemma of the earphone sound source far apart from the live sound that actually sounded in the venue, such as a musical instruments ensemble with a keyboard stand out. It seems that it seems as if you are listening to a live album anymore … It is a masterpiece that you can assert until it is a shock that such a high degree of completeness is a representative piece of Freshon Up Japan Tour.
Not only Iyamoni of such two countries, but also rehearsal the day before the tour starts at the Tokyo Dome, and even the sound check “CLOSED SOUNDCHECK AT KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING” before the actual two-country gigs released last week The master of Iyamoni who recorded me will drop the shocking sound source again. This time Nagoya performance which decorated the finale of the 2018 fresh-up · Japan tour was presented as a sound source of a splendid live album state by Iamoni masters. Is the two countries as if it is an outgoing sound board? It was a memorable new place that was a finish that seemed to be an illusion, but this time also the finest finish.

If it changes, it will not change … but it is interesting because the texture of the same Iyamoni recording is quite different from the two countries of Small Hall. Iamoni recording at Nagoya Dome, a huge stadium, is a sarcastic texture and can be regarded as a more spilling soundboard ticky texture. Compared to the two countries that were very finished in the live album reflecting the characteristics of the venue, this is also a huge stadium, so the presence is lower (so “NAGOYA DOME 2018” was the best audience recording) It is not fading). That is why it is a more spilling sound board ticky feel. However, the sound source of this day also captures the dynamic performance of the band with a stunning balance, and it also eliminates the unnaturalness that tended to be in the past Imonmoni items here. After all it is the band sound of rock when the guitar is conspicuous.
In addition, although both countries were short-set lists of small gig specifications, this is a regular concert and a Japanese performance in this place. Austin, which was a soundboard recording from the fresh-up tour afternoon, was not played because it was a slightly reduced number of singles to the festival specifications, yet it was not played in both countries, yet the sound of the new song “Who Cares” It’s the best timing that a live version can be heard with a wonderful and powerful stereo sound. This song is just the MV being released just now, right now is the season.
However, a further highlight appeared at the beginning of the live show. Well, I’m going to hear with the best clearness again, “Got To Get You Into My Life” with a horn that entered the regular repertoire from this show in Japan! The sound of a real horn popping out swiftly is completely different from the sampling sound of the synth. I wanted to hear this … … you can enjoy the Beatles number representing 2018 Paul with so much power that you are unlikely to have the power in hand. In addition, although the songs are going back and forth, it is great appeal that Wings and Classic’s “Junior’s Farm” can be heard with this sound quality.

As evidenced by “RYOGOKU KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING”, one of the attractions that Iyamoni recording brings is that even when a musician on the stage, such as Paul, released his finger from the string of the guitar I can hear it. It is as if he / she could hear the breath of live members live. More than that Paul definitely communicates to the fact that he enjoys the first live performance in Nagoya. It is clear from the voice he mutters among the songs (which I can hear well). Still, it seems that Paul is doing a lot of hard work and singing “Maybe I ‘m Amazed” which was not played in both countries, compared to the first day of Tokyo Dome. Sometimes it is the last day of the tour, there are scenes where voices are dangerous indeed from “Live and Let Die” to “Hey Jude”, but in the latter chorus part “Nanana Nagoya!” And Paul are consecutive, furthermore the stage As many times as I hear members get excited before getting down, I will be relieved.
And, “Birthday” who was hurriedly played at the encore which was originally meant to start with “I Saw Her Standing There”. As a result, the only performance at the Japan Tour in 2018 is best to hear with this wonderful sound quality, but before I started it, Ave who returned to the stage repeatedly misunderstood “Japan loves Paul!” And beside Nagoya It is not only this kind of sound source but also a touching scene at the same time that all the conversation of Rusty who calls the excitement of “Amazing!” Is heard. Paul’s appearance that I shouted vigorously at the end and closed off the final day of the tour was truly reliable. Even though it crosses the regular show this time, a masterpiece that forms a twinning with the two countries of Small · Gig by the wonderful Iamoni recording which caught with superb sound quality was born. Please sound with a loud volume from the speaker again this time and enjoy with the live album feeling again!
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稀代の名盤化した感のある「RYOGOKU KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING」があれだけの評判を呼んだのは、いわゆるイヤモニ録音にありがちな「クリアネスばかりが無駄に目立つバランス」や「スカスカでキーボードが目立つ楽器アンサンブル」といった、実際に会場で鳴っていたライブサウンドとかけ離れたイヤモニ音源のジレンマを一掃した見事な仕上がりの結果でした。もはや普通にライブアルバムを聞いているようにしか思えない…そんな完成度の高さが衝撃であり、フレッシュン・アップ・ジャパンツアーを代表する一枚だとまで断言できる名盤でしょう。
そんな両国のイヤモニだけでなく、東京ドームでのツアー開始前日のリハーサル、さらには先週リリースされた両国ギグ本番前のサウンドチェック「CLOSED SOUNDCHECK AT KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING」まで見事な手腕で記録してくれたイヤモニの巨匠がまたしても衝撃的な音源を投下してくれます。今回は2018年フレッシュン・アップ・ジャパンツアーのフィナーレを飾った名古屋公演が、またしてもイヤモニ巨匠によって見事なライブアルバム状態の音源として献上されたのです。両国がまるで流出サウンドボードか?と錯覚してしまいそうな仕上がりだったのは記憶に新しいところですが、今回もまた極上の仕上がり。

所変われば品変わる…ではありませんが、同じイヤモニ録音でもスモール・ホールの両国とはまったく質感が異なるから面白い。巨大スタジアムたるナゴヤドームでのイヤモニ録音は武骨な質感で、より流出サウンドボードチックな質感だと例えられるでしょう。その会場の特性を反映して非常に優等生ライブアルバムに仕上がっていた両国と比べると、こちらは巨大スタジアムということもあって臨場感は低め(よって極上オーディエンス録音だった「NAGOYA DOME 2018」も価値が色褪せていません)。その点がより流出サウンドボードチックな感触という訳です。しかし、この日の音源もバンドのダイナミックな演奏を見事なバランスで捉えており、過去のイヤモニ・アイテムにありがちだった不自然さをここでも一掃。やはりギターが目立ってこそロックのバンドサウンドというもの。
おまけに両国はスモール・ギグ仕様のショート・セットリストでしたが、こちらは通常のコンサートでなおかつ日本公演。一足先にフレッシュン・アップ・ツアーからのサウンドボード録音であったオースティンはフェス仕様に若干ながら選曲が減らされた構成だったゆえに演奏されず、それでいて両国でも聞かれなかった新曲「Who Cares」のライブ・バージョンが素晴らしく迫力のあるステレオ・サウンドで聞けるだなんて最高のタイミング。同曲はちょうどMVが公開されたばかりであり、正に今が旬。
ところがライブ序盤にてさらなるハイライトが登場。そう、今回の日本公演からレギュラーレパートリー入りを果たしたホーン入り「Got To Get You Into My Life」、これがまた最高のクリアネスで聞けてしまう!威勢よく飛び出してくるリアルなホーンの音はシンセのサンプリング音とまったく別次元。これが聞きたかったんだ…だと、思わず手に力が入ってしまいそうなほどの迫力で2018年のポールを代表するビートルズ・ナンバーをお楽しみいただけます。また曲は前後しますがウイングス・クラシックの「Junior’s Farm」がこの音質で聞けるのも大きな魅力かと。

「RYOGOKU KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING」が証明したように、イヤモニ録音が醸し出す魅力の一つは、ポールを始めとしたステージ上のミュージシャンがギターの弦から指を離した時の音すら聞こえてしまう生々しさ。それこそライブ中のメンバー息遣いまで聞こえてくるかのよう。それ以上にポールが名古屋での初ライブを大いに楽しんでいる様子まではっきり伝わってくる。曲間で彼が呟く声(これがまたしっかり聞き取れてしまう)からも明らか。それでいて両国では演奏されなかった「Maybe I’m Amazed」も東京ドーム初日と比べ、ポールがかなり頑張って歌えている様子が伺えます。ツアー最終日ということもあり、「Live and Let Die」から「Hey Jude」にかけてはさすがに声が危うい場面も見受けられますが、後者の合唱パートで「ナナナゴヤ!」とポールが連呼、さらにはステージを降りる前にメンバーが盛り上がる様は何度聞いてもほっこりさせれます。
そして当初「I Saw Her Standing There」から始めるつもりだったアンコールで急遽演奏された「Birthday」。結果として2018年ジャパン・ツアーにおいて唯一の演奏がこれまた素晴らしい音質で聞けるのも最高ですが、それを始める前にステージに戻ったエイブが何度も「Japan loves Paul!」と呟き、傍で名古屋の盛り上がりを「Amazing!」と称えるラスティの会話の一部始終が聞かれるのもこうした音源ならではであると同時に、実に感動的な場面でした。終盤は力強くシャウトしまくってツアー最終日を見事に締めくくったポールの姿も実に頼もしい。今度はレギュラー・ショーをまたしても見事な音質で捉えた驚異のイヤモニ録音によるスモール・ギグの両国と双璧を成す名盤が誕生。今回もスピーカーから大音量で鳴らしてライブアルバム感覚で楽しんじゃってください!


Disc 1 (79:57)
1. Intro 2. A Hard Day’s Night 3. Junior’s Farm 4. Can’t Buy Me Love 5. Letting Go
6. Who Cares 7. Got To Get You Into My Life 8. Come On to Me 9. Let Me Roll It
10. I’ve Got a Feeling 11. Let ‘Em In 12. My Valentine 13. Nineteen Hundred and Eighty-Five
14. Maybe I’m Amazed 15. I’ve Just Seen A Face 16. In Spite of All the Danger
17. From Me to You 18. Love Me Do 19. Blackbird 20. Here Today

Disc 2 (78:12)
1. Queenie Eye 2. Lady Madonna 3. Eleanor Rigby 4. Fuh You 5. Being for the Benefit of Mr Kite!
6. Something 7. Ob-La-Di, Ob-La-Da 8. Band on the Run 9. Back in the USSR 10. Let It Be
11. Live and Let Die 12. Hey Jude 13. Birthday 14. Sgt Pepper’s Lonely Hearts Club Band (Reprise)
15. Helter Skelter 16. Golden Slumbers 17. Carry That Weight 18. The End

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