Paul McCartney / Tokyo Dome 1990 1st Night / 2CD

Paul McCartney / Tokyo Dome 1990 1st Night / 2CD/ Non label
Live at Tokyo Dome, Tokyo, Japan 3rd March 1990  Remaster & Upgrade

Play sample :

Click Image To Enlarge

It was March 3 that Paul McCartney’s first performance in Japan was exceptionally delayed in discovering good sound sources and introducing items. The CD-R “IT’S GREAT TO BE BACK” was released from the nostalgic MASTERPORT label for the excavation audience album that finally appeared in the 21st century and more than 10 years later. It was highly praised by enthusiasts as it was the finest audience on the first day of their first performance in Japan, which was finally unearthed, and it was also highly acclaimed in specialized magazines at the time. In terms of concert sound, the reason why it was so popular at that time was that it captured the sound image so clear and on at Tokyo Dome.
Despite this, however, there are some parts where this sound source is periodically muffled, and in that sense it is suitable for CD-R, but it was not actually released on the press disc. It was realized at the time of the release of “TOKYO DOME 1990”, which was a coupling with another reissue of the masterpiece “2ND NIGHT AT THE DOME” released on the press CD. Now, ten years have passed since the release of “IT’S GREAT TO BE BACK”, and technology has made it possible to mitigate the change in sound quality of the sound source.

However, “TOKYO DOME 1990” was discontinued in the old days. If that’s the case, then it’s no wonder that maniacs have requested reoccurrence, but since its release, time has passed and more technology is being developed. Therefore, this time, the first single release for the first visit to Tokyo Dome will be realized for the first time.
▽ Of course, we paid close attention to this release as well, and that difference in sound quality. From the remastering work, it was verified that “Is there a difference in sound quality between the A side and B side of the cassette?” It seems that the sound quality of the B side has deteriorated due to aging. Or, when recording with two cassettes, the second tape deteriorated over time, and the corresponding part deteriorated. In addition, crackling noise is also generated in the part where the sound changes, which is also a sign of deterioration.
The changes in sound quality and noise that occurred there were alleviated more than the last time, and the pitch error that is typical of cassette recording is precisely adjusted. Anyway, the sound image is amazingly close to the whole, and it is a sound source with excellent features, so this treatment guarantees a finish and upper feeling that is even easier to hear than the “TOKYO DOME 1990” version.

Even so, the sound of this recording is really close and easy to hear. Not only that, but it’s amazing that you can hear Paul’s bass line. In 1990, it was difficult to capture such a force with audience recording using DAT. That is the greatest merit of analog recording using a cassette. Since the release of the CD-R “IT’S GREAT TO BE BACK”, it has been well-established for its ease of hearing and warm texture, but it has the feeling that it has been further refined by this remaster.
This is the first day of Tokyo Dome that you can enjoy with this superb sound quality. Is this the biggest performance of Paul at your first visit to Japan? It seems that his hustling is so remarkable. It was also the first day of the performance that came to Japan, which was the third time for Paul to be honest. In addition, the schedule was reassembled one month after coming to Japan. Just twists and turns. In such a situation, Paul could not hustle on the first day when he finally realized it.
In addition to that, Paul’s voice is also outstanding, and of course it is the first day of the tour. But more than that, it’s probably because two weeks had passed since the February short-term US tour, which was the cause of the usual schedule change (Poll worsened the cold during the tour). The closeness of the sounds makes it feel like it’s doing well, but it’s definitely this day that I’ve been singing so far in my first performance in Japan.
This time, the closed circuit March 9th video will be released at the same time, but when you compare it around “Got To Get You Into My Life” and “Sgt. Pepper’s Lonely Hearts Club Band” where hard shout is required, The difference is obvious. It is clear that Paul himself was challenging the stage while feeling the off-effects seriously, and with the fact that it was finally realized in Japan, he is singing and talking with happiness. On that point, the 9th was more professional, or, of course, was conscious of live broadcasting. It would be interesting to hear how the behavior on this stage is clearly different. If you listen to this remaster again, you may be able to feel the great performance of the day even more. Carefully take the best tour first day with such a best version.

ポール・マッカートニーの初来日公演の中では例外的に良質音源の発掘やアイテムの登場が遅れていたのが3月3日。21世紀を迎え、なおかつ10年以上の歳月が経過したところでようやく登場してくれた発掘オーディエンス・アルバムが懐かしのMASTERPORTレーベルからリリースされたCD-R「IT’S GREAT TO BE BACK」でした。それは遂に発掘された初来日公演初日の極上オーディエンスということでマニアの間で高い評価を得て、また当時の専門誌でも絶賛されたもの。コンサート音響という点ではまだまだ当時の東京ドームにおいて、これほどまでにクリアーでオンな音像で捉えてくれたことが人気の理由でした。
とはいえこの音源、周期的に音がこもってしまう箇所があり、それがある意味ではCD-R向きだといえ、実際にプレスのディスクでリリースされることもなかったのです。それが実現したのは、これまた名音源を、こちらはプレスCDにてリリースした名作「2ND NIGHT AT THE DOME」の再発とのカップリングだった「TOKYO DOME 1990」のリリース時。今度は「IT’S GREAT TO BE BACK」のリリースから10年が経過し、テクノロジーが同音源の音質の変化を緩和させることを可能にしてくれたのです。

ところが「TOKYO DOME 1990」もとっくの昔に廃盤。となればマニアから再発のリクエストが寄せられていたのも当然な訳ですが、それのリリースからも時間が経過し、さらにテクノロジーが発達している。そこで今回は初来日東京ドーム初日だけの単体リリースが初めて実現するのです。
そこで生じていた音質の変化やノイズを前回以上に緩和させ、なおかつカセット録音にありがちなピッチの狂いも緻密にアジャスト。とにかく全体を通して驚くほど音像が近く、素性の優れた音源ですので、今回のトリートメントによって「TOKYO DOME 1990」バージョンよりもさらに聞きやすくなった仕上がりやアッパー感を保証します。

それにしてもこの録音は本当に音が近くて聞きやすい。それだけでなくポールのベースラインまでしっかり聞き取れてしまうのが凄いではありませんか。1990年当時であれば、DATを使ったオーディエンス録音でこうした迫力を捉えるのは難しかった。そこがカセットを使ったアナログ録音最大のメリットというもの。CD-R「IT’S GREAT TO BE BACK」のリリース時から、その聞きやすさやウォーミーな質感には定評がありましたが、今回のリマスターによって一段と磨き上げられた感があります。
今回は同時にクローズド・サーキットの3月9日映像がリリースされますが、ハードなシャウトが要求される「Got To Get You Into My Life」や「Sgt. Pepper’s Lonely Hearts Club Band」辺りで聞き比べるとその差は歴然。ポール自身もオフの効用をまじまじと実感しながらステージに挑んでいたことは明らかで、それがようやく実現できた日本でのステージということも相まって、本当に楽しそうに歌ったり話したりしている。その点9日の方はもっとプロっぽいというか、当然ながら生中継を意識していた。このステージ上の振る舞いが明らかに違う様子を聞き比べるのも面白いでしょう。今回のリマスターで改めて聞いてみると、より一層この日の名演ぶりを痛感させられるのでは。そんなベストバージョンにて最高のツアー初日をじっくりと。


Disc 1 (73:47)
01. Figure Of Eight
02. Jet
03. Got To Get You Into My Life
04. Rough Ride 5. Band On The Run
06. We Got Married
07. Let ‘Em In
08. The Long And Winding Road
09. The Fool On The Hill
10. Sgt. Pepper’s Lonely Hearts Club Band
11. Good Day Sunshine
12. Can’t Buy Me Love
13. Put It There
14. Things We Said Today
15. Eleanor Rigby
16. This One

Disc 2 (53:43)
01. My Brave Face
02. Back In The U.S.S.R.
03. I Saw Her Standing There
04. Coming Up
05. Let It Be
06. Ain’t That A Shame
07. Live And Let Die
08. Hey Jud
09. Yesterday
10. Get Back
11. Golden Slumbers
12. Carry That Weight
13. The End



Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.