Paul McCartney / Soundcheck 2018 Original In-Ear Monitor Recording / 3CD

Paul McCartney / Soundcheck 2018 Original In-Ear Monitor Recording / 3CD / Non Label

Tokyo Dome, Tokyo, Japan 31st October & 1st November 2018, Nagoya Dome, Nagoya, Japan 8th November 2018
Original In-Ear Monitor Recording (Stereo)

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Translated Text:

Regarding this year’s performance in Japan and the sound check before the live performance, “CLOSED SOUNDCHECK TOKYO DOME 10.30.2018” which was done by renting the Tokyo Dome the day before the tour started, and the rehearsal which was held before the gigs of the two countries’ Kokugikan Two titles, “CLOSED SOUNDCHECK AT KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING” caught, caused the mania to be called. Both of them revealed the state of the rehearsal which can not be seemed a glimpse as a result of Iamoni recording of superb sound quality. Suddenly precious sound source which can hear suddenly “closed” sound check was said to have been released gently.
Thus until now there was only a release of “closed” sound checks continuing, and even with respect to live performance I also released a staggering sound quality Iyamoni sound source in both countries and Nagoya. Naturally, there is no plans to release “open” sound check from maniacs there? I received a question. At Tokyo Dome and Nagoya Dome there is a great benefit of sound check participation tickets on VIP tickets, which allows you to see “open” sound checks. Yet, there were many maniacs who had been wondering that no titles containing the sound check sources of those sound checks have ever come out. Better yet, I do not mind being able to record audiences, so I would like to hear those sound checks … of course.
Certainly there was also a sound source of those sound checks by audiences recording, but here as well we want to listen at the same level as “closed” sound check. Do not worry, that expectation will not be disappointed. This time again the master of Iamoni did it! If you caught a normal live show different from the two countries with excellent sound quality at the “NAGOYA DOME 2018: ORIGINAL IN – EAR MONITOR RECORDING” released last week, you will want to listen to the sound check before the actual sound with the same sound quality. Of course Iamoni’s master is dedicated to recording all soundchecks on the Japan Tour. And this time also limited press release CD. It also documents the sound check for three days with stereo and powerful sound quality that overturns the image of the earphone sound source which was still in the past.

First of all, it was a sound check on the first day of Tokyo Dome. Here recorded from the test of the instrument by each member before pole appearance. Although the audience of the VIP ticket has already entered the hall, careful sound checks are spreading. Also, as already proven by Closed Sound Check, the sound check is an ideal recording environment for the Iyamoni sound source, where the realism tends to be low. Nonetheless, it is interesting to see how cheers flutter when Paul appears on stage.
Opening “Tokyo Town Jam” which is played after his appearance is a typical example of blues jam played by Paul for the dawn of sound check for many years, but here again it is as long as 7 minutes by adding a horn section It has become a deployment with hearing responses in which the performance was tightened at once. It is interesting that Paul and band members call “Tokyo Town” at the same time as they join as the performance glows hot. Unlike real recordings of both country gigs and Nagoya dome, the edges of the sound are sticking and standing, but still a wonderful stereo sound quality.
It is also a big point that you can enjoy “C Moon” and “Coming Up” with horn with this quality. Both songs are exquisite horn shines, especially in the latter case when you move to the example “Peter Gunn” part, the horn phrase is finally demonstrated. In addition to this song, when listening to “Day Tripper” which has turned into a repertoire for sound checking now, Paul is also felt as if the tone of his voice was already in front of the actual performance. Of course it is not at a serious level, but it is a little bad. Or you can say that singing a repertory of such a high key with sound check with the voice not being fully opened.
Still Paul murmured everywhere as “Halloween”, and it is fun to hear it because the peaceful appearance is actually transmitted in real. It is a scene that will murmur “Halloween in Tokyo” at the ending of “Things We Said Today” which is also (also here for sound check).

On the second day, the beginning jam was not recorded, and recording started from the beginning of “Twenty Flight Rock”, but in the sound check, they are serious damage. “Got to Get You into My Life” with horn entered in the first half is being performed, but as it was not sure at the time whether it will be played in the actual number, fans who existed in the sound check were amazed I guess. Besides, it is wonderful that the powerful full-score performance with horn is heard here with wonderful sound quality as well.
More importantly, the only new song “I Do not Know” was played in the public sound check for the VIP ticket owner in this performance in Japan. Although it is a repertoire that was played also in the closed sound check which has been released so far, because it is playing the audience in front of a small number here, it is obviously more than Paul’s version in the closed sound check version High tension. This will be a little live version.
Regrettably there are places where this song and “San Francisco Bay Blues” receive reception of Iyamoni, but still it can be enjoyed satisfactorily. Of course, “I Do not Know” is obviously Paul is nothing more than the sound check of the day before though it is, of course. Their tightening is ukulele ‘s “Ram On”, when you compare it with the same song from the previous day, the difference is obvious. I hope this energetic appearance leads to the performance of the evening.

And the sound check of Nagoya Dome is recorded again from the musical instrument check scene, sound quality is still wonderful as usual. This day started with a minor style jam similar to the closed sound check of the Tokyo Dome. Again from around 5 minutes horn was added and it suddenly changed to a moody atmosphere, and the performance itself became a length longer than 8 minutes.
After that jam, the first show was “Save Us”. Until last year, songs that have been played as usual are also regularly dropped due to the introduction of the repertoire from the new album “EGYPT STATION”. It is unexpectedly fresh to hear this in the sound check, and at the same time, it also has the best stereo sound and plenty of power. The following “Jet” is also a song completely converted to sound check, but with the addition of the horn section here, the ambition as if I was being told the live version of the whole round wings golden age was goose bumps Standing level. It’s not being played in production. In addition, the sound source of Nagoya Dome is different from others, that it also matrixes the wireless interception sound source of Paul ‘s base. This is the sound source that I saw earlier as a gift item last week, and adding a base sound source has resulted in even thicker sound!
On the other hand, “FourFiveSeconds” was a regularly-treated song until just before coming to Japan, but finally relegated to sound check for finishing. As it was in last year, I can not say that it is a good song to Japanese people for flattering, so I am convinced that the treatment as well. It will not be played in the subsequent European tour, it seems that it has finally relegated completely. And in “Midnight Special” Paul has a fantastic scene that he plays the name of “Nagoya” firmly and sings.

The amazing place of these sound checks, it means that the set list for three days is amazingly different. Due to its nature, it practically rehearsals for any day less than an hour. Still it is worthy of praise that you can change the set list from consideration of the VIP ticket’s audience. Thanks to everything, it has content that has been heard. That’s why I’d like to hear these normal sound checks with a good sound. Without betraying that expectation, I can still enjoy it with the finest quality stereo sound this time. Closed sound check was certainly precious, but I want to listen to the sound check that is released only to VIP ticket participants as well … I am the best Christmas gift to send to you such a master of Iyamoni!

今年の来日公演、ライブ本番前のサウンドチェックに関してはツアー開始前日に東京ドームを貸し切って行われた「CLOSED SOUNDCHECK TOKYO DOME 10.30.2018」、さらに両国国技館ギグの前に行われていたリハを捉えた「CLOSED SOUNDCHECK AT KOKUGIKAN 2018: ORIGINAL IN-EAR MONITOR RECORDING」という二タイトルがマニアをアッと言わせました。どちらも極上音質のイヤモニ録音によって、通常なら垣間見られないリハーサルの様子を明らかにしれくれたのです。いきなり「クローズド」なサウンドチェックを聞ける超貴重音源が惜しげもなくリリースされてしまったという。
確かにオーディエンス録音による、それらのサウンドチェックの音源も寄せられてはいたのですが、ここはやはり「クローズド」なサウンドチェックと同様なレベルで聞きたいというもの。ご安心ください、その期待は裏切られません。今回もまたイヤモニの巨匠がやってくれました!先週リリースされた「NAGOYA DOME 2018: ORIGINAL IN-EAR MONITOR RECORDING」で両国と違うノーマルなライブショーを素晴らしい音質でキャッチしてくれたとなれば、本番前のサウンドチェックも同様の音質で聞きたくなる。もちろんイヤモニの巨匠はジャパン・ツアーすべてのサウンドチェックの録音を敢行。そして今回も限定プレスCDリリース。やはり過去にあったようなイヤモニ音源のイメージを覆すステレオと迫力の音質で三日間のサウンドチェックをドキュメントしてくれるのです。

彼の登場後に演奏されるオープニング「Tokyo Town Jam」は長年に渡ってポールがサウンドチェックの幕開けに演奏してきたブルース・ジャムの典型ですが、ここでもホーンセクションが加わることで、7分にも及ぶ演奏が一気に引き締まった聞き応えのある展開となっています。彼らが加わって演奏が白熱すると同時に、ポールやバンドメンバーが「Tokyo Town」と連呼するのも面白い。両国ギグやナゴヤドームの本番録音と違い音のエッジがささくれ立ったりもするのですが、それでも相変わらず素晴らしいステレオ音質。
このクオリティでホーン入り「C Moon」や「Coming Up」が楽しめるのも大きなポイント。どちらの曲でも絶妙のホーン映え、中でも後者においては例の「Peter Gunn」パートに移るといよいよホーンのフレーズが本領発揮。この曲に加え、今やサウンドチェック用レパートリーと化してしまった「Day Tripper」などを聞くと、ポールは既に本番前から声の調子がイマイチであった様子も感じられてしまう。もちろん深刻なレベルでないのだけれども、ちょっとキレが悪い。あるいは声がエンジン全開とならない状態でこうしたキー高めのレパートリーをサウンドチェックで歌ってしまった…と言えるかもしれません。
それでもポールは随所で「ハロウィン」と呟いており、和やかな様子も実にリアルに伝わってくるから聞いていて楽しい。極めつけは(こちらもサウンドチェック用となった)「Things We Said Today」のエンディングで「Halloween in Tokyo」と呟いてくれる場面でしょう。

二日目は冒頭のジャムが未収録、なおかつ「Twenty Flight Rock」の序盤からの録音開始となっていますが、サウンドチェックにおいてそれらは大したダメージではないかと。前半においてホーン入りの「Got to Get You into My Life」が披露されていますが、この時点では本番で演奏されるかどうかの確証はなかっただけに、サウンドチェックに居合わせたファンは驚かされたことでしょう。しかもホーンの入った迫力満点の演奏がここでも素晴らしい音質で聞かれるというのがお見事。
それ以上に特筆すべきは今回の来日公演におけるVIPチケット所有者向け公開サウンドチェックの中で唯一、新曲「I Don’t Know」が演奏されたということ。これまでリリースしてきたクローズド・サウンドチェックでも演奏されていたレパートリーではありますが、ここでは少人数ながらもオーディエンスを前に演奏しているためか、それらクローズド・サウンドチェックでのバージョンよりも明らかにポールのテンションが高い。こうなるとちょっとしたライブ・バージョンの域でしょう。
惜しむらくはこの曲や「San Francisco Bay Blues」においてイヤモニの受信が怪しくなってしまう箇所があるのですが、それでも十分に楽しめます。「I Don’t Know」はもちろんですが、全体を通しても前日のサウンドチェックより明らかにポールがノリノリ。その極め付けがウクレレの「Ram On」で、前日の同曲と聞き比べるとその差は歴然。この元気な様子が当夜の名演へとつながったのでは。

そのジャムを終え、最初に披露されたのは「Save Us」。昨年までは当たり前のように演奏され続けてきた曲もニューアルバム「EGYPT STATION」からのレパートリー導入に伴って遂にレギュラー落ち。サウンドチェックでこうして聞かされると意外なほど新鮮であると同時に、ここでも最高のステレオ・サウンドで迫力たっぷり。続く「Jet」も完全にサウンドチェック専用と化した曲ですが、ここにもホーンセクションが加わったことで、丸っきりウイングス黄金期のライブ・バージョンを聞かされているかのような雰囲気は鳥肌が立つレベル。これが本番で演奏されないだなんて。更にナゴヤドームの音源が他と違うのは、ポールのベースのワイヤレス傍受音源もマトリクスしているということ。これは先週ギフトアイテムとして先にお目見えした音源で、ベースの音源を加えたことで更に厚みのある音へと仕上がっているのです!
一方「FourFiveSeconds」は来日直前までレギュラー扱いの曲でしたが、ここにきて遂にサウンドチェック用へと降格。昨年がそうだったように、日本人にはお世辞にも受けの良い曲だとは言えないことから、その扱いも納得かと。その後のヨーロッパ・ツアーにおいても演奏されることはなく、いよいよ完全に降格してしまったようです。そして「Midnight Special」でポールは「ナゴヤ」という地名をしっかり盛り込んで歌ってくれるという微笑ましい場面も。



Disc 1 (54:16)
Tokyo Dome, Tokyo, Japan 31st October 2018

1. Soundcheck 2. Paul’s Greeting 3. Tokyo Town Jam 4. Honey Don’t 5. Coming Up
6. Day Tripper 7. C Moon 8. Let ‘Em In 9. San Francisco Bay Blues
10. Things We Said Today 11. Ram On 12. Midnight Special 13. Massage Song
14. Lady Madonna 15. Paul’s Outro

Disc 2 (38:46)
Tokyo Dome, Tokyo, Japan 1st November 2018

1. Twenty Flight Rock 2. Blue Suede Shoes 3. Got To Get You Into My Life
4. Magical Mystery Tour 5. Whole Lotta Shakin’ Going On 6. I Don’t Know
7. It’s So Easy 8. San Francisco Bay Blues 9. Ram On 10. Midnight Special
11. Massage Song 12. Lady Madonna 13. Paul’s Outro

Disc 3 (52:03)
Nagoya Dome, Nagoya, Japan 8th November 2018

1. Drum Check 2. Paul’s Greeting 3. Jam 4. Honey Don’t 5. Save Us 6. Jet
7. Drive My Car 8. C Moon 9. Whole Lotta Shakin’ Goin’ On 10. It’s So Easy
11. FourFiveSeconds 12. Ram On 13. Midnight Special 14. Massage Song
15. Lady Madonna 16. Paul’s Outro

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