Pink Floyd / The Best Of Tour 72 / 3CD

Pink Floyd / The Best Of Tour 72 / 3CD / SpeakEzy
Translated Text:

Live At Rainbow Theatre, London, UK 20th February 1972.

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★ Classic 72 Rainbow Theater’s decision board!
★ Vintage name board LP sound source to compensate tape sound source “Madness” Complete Recording (Disc 1)
★ Recorded live all song version editing 2 tape sound sources (Disc 2-3)
★ Folded poster included. Entering numbering

★ sound source
Recorder 1 … Vintage LP “The Best Of Tour 72” (16-421 / 422). Only “Madness” is recorded
Recorder 2 · · · Mono / audience recording. Late live except for ‘crazy’ recorded
Recorder 3 · · · Mono / audience recording. “Madness” and the late part of the live “mystery” to the middle of recording

★ Concept Concept
Reproduction of the initial “crazy” finished version by compensating Disc 1 · · LP (madness only) mainly with Recorder 3
Disc 2, Disc 3 · · · Tapes source Recorder 2 and Recorder 3 reproduce the live almost in the finished version

★ familiar classic live decision board in the early 72 years!
From the LP release in the 70’s, the decision board which condensed the live at the Rainbow Theater on February 20, 1972 in classic 3 CD, from the time of CD age.
Disc 1 is a “madness” completion version which supplemented the missing part with the sub tape source, mainly on the famous “The Best Of Tour 72” (16-421 / 422) since the LP era.
Disc 2 – 3 realized recording of live all songs using two different kinds (monaural, audience, tape) of the same day on the same day.

Looking back on the sound source of this live, only the “crazy” part first appeared in the LP era. It is a classic staple in the classic to the present and there are only 4 cuts, but there is only the best stereo · Aud sound source and the sound source which has been released in the past a lot. In the past I was also declared as a sound board, but it is definitely Aud recording. There is also an episode called FM broadcasting, details are unknown.
The original LP board “The Best Of Tour 72” (16-421 / 422) which recorded this is a coating jacket, the artist name and the title are not described on the jacket front face of the 1st issue, and in the back jersey Although the title is listed, the thing without the title name is original, the original title and the title called LIVE are described in the front jacket, while the original afterwards, the 2nd issue where the song title was described in the back jacket also exists. These original LP boards are unexpectedly rare (especially the initial jacket board is rare), and LPs that were made into soundplanes from tape are only these original LPs, and the tape has been lost and it has not been distributed to the present. Therefore in the LP era it may be that there were actually more people who possessed in copy machines such as “In Celebration Of The Comet” (TAKRL / 1903).
Even after the CD era, a lot of CD raising such as this original LP (including LP which was copied) appears, sequentially appearing from various labels such as NZCD board, Seagull board (Toho Ho board), Chapter One board etc from around 1989 However, its quality is incredible, there is no reasonable preliminary information such as “analogue raising”, there is no reason to ask scratch when listening. Among such early CD items, TSP board CD released in 1990 was probably the best at that time. In the early days of CD, Hiss and scratch sounds are in an undesirable trend, and TSP also appealed No Noise System depending on the release title. Regarding the sound source of this time again when listening to the TSP board CD, although the separation / freshness of the performance is definitely lower than that of the original LP, it is a sound which can be heard unexpectedly as a whole, sufficient sound as an item of the dawn of CD · I felt that the production was made. It is missing that the pitch is slow as a whole like LP, but the two heads can be said to be the title extracted as compared with the related CD title group at the time.
Also, from the time of LP release, the information on the actual date of the live is ambiguous, and in many cases it is stated as not the actual February 20 but the 17th day (the first day of the performance in London) It will also affect credit mistakes and mistakes until recent years.

In the mid 90’s there will be no noteworthy titles beyond the TSP board CD, but release updates will be stagnant, but since the end of the 1990s it came into the 2000s and the trade became easier by the spread of the net, there is movement again. First around 2001, 2CD title “Time Ends” (STTP) appeared. This is because the “crazy” part is a copy of TSP and the latter part of the live after madness actually recorded live on 17th instead of live on the same day, this time also the misinformation of chaotic date credit Although it became influenced, still a part of fans are attracted enough attention as a result that the latter part of the live performance of the neighboring performances was converted to the sound for the first time as a result.
And in the beginning of 2003 the full board of the 2 CDR board “RAINBOW DAY 1” (Ayanami) was released on 17th, the chaotic date credit will be clarified and will be corrected somewhat (however, between the underground traders In some parts of the circulation which still is wrong continued for a while)
And around 2006, the Sirene board that summarized the 20th performance with three kinds of sounds appeared. Here finally the live part of the live performance of the 20th performance appeared, and further different tapes from the LP of “crazy” part appeared, the whole picture of this live will finally become clear. However, at this point it is not clear until the sound source is of three types (classification is described in the bullet of the commentary on the top of the commentary), the sound source of the “sound cadence” part of the tape sound source part and the latter part of the live part after that are different It became clear later that it became a tape (a mixture of Recorder 2 and 3), and finally it was widely known that two kinds of tape sound source circulated widely, and the title which recorded 2 kinds of tape sound source also got from Sigma recently It was announced.

From the LP era I tried to look back on the confusing situation of converting the CD sound into a sound, but for those who are hard to understand, I will try to itemize on this February 20th performance with further super reason
· “The Best Of Tour 72” (16-421 / 422) is a stereo Aud recording of the “crazy” part on February 20, 192 (not February 17)
· The tape of “The Best Of Tour 72” (16-421 / 422) is said to have been lost
· All LPs other than original release are copied
· All copies of the same live at the CD dawn period as well
· There are 3 types of Aud recordings including the LP sound source and tape sound source (both monaural) in the performance on February 20, 1972
· Two types of tape sound sources finally entered the 2000s and turned into a sound board.


This title is a thing that aimed at complete recording by editing three kinds of sound sources on February 20 performances.
For Disc 1, LP (Recorder 1) is mainly supplemented with Recorder 3, and “Madness” is made complete.
Disc 2 – 3 edited tape source 2 types (Recorder 2, 3), complete recording of all the live songs.

The LP sound source used for Disc 1’s main was based on the sound source of familiar Neon Knight this time.
Anyway, Mr. Neon’s tone quality is a record high, and a wonderful sound like pulling out the information engraved on the LP to the maximum
I can not compare it anymore. Still, it has not been done extra processing such as earning sound pressure, so it was perfect as a material. For this LP part, volume and pitch are adjusted, and EQ processing is not done at all. The pitch adjustment is also unique problem of this LP, originally overall pitch is low and the early stage wanders about 0.3 to 0.5% lower state, but this is not constant but gradually goes down with Don Dong, and around Money 3 It is close to%, it will pick up around the cut part of US AND THEM, but still it will wander to the end as low as 1.2 to 0.6%. I adjusted this precisely and adjusted this time. If the initial “madness” version, which was originally a moody impression, had always felt unclear, it was because the pitch was low. Recorder 3 which is another sound source which recorded “madness” of the same day on patch point where there are four in LP is patched as appropriate (see patch point for music). Recorder 3 is recorded in the 1st Gen version of the collector, not the net. Recorder 3 originally contains a lot of hiss noise, but it is only used for padding by adjusting pitch and volume adjustment and periodic petit noise removal. Even in the net version, there is already a pseudo-finished version that supplemented Recorder 3 in LP, but there is a pseudo stereo processing, etc. in compensating Recorder 3, although LP is a tight part and there is pseudo stereo processing etc., but this time supplementing Recorder 3 is obedient Because it is a sound, there is a difference in sound quality with the LP sound source, but switching of the sound source is carried out carefully, editing is done as much as possible without incongruity. Mr. Neon also announced the supplementary version using Recorder 3 after announcing the LP sound source, but unexpectedly there was quite disappointing sound processing there, and even with the already-released Godfather board there is a title of similar concept, Sound processing is also strict there, and this title will be a decision board as a pseudo-finished version edited obediently.

Disc 2 – 3 reproduces the full length of the live using two tape sound sources (Recorder 2, 3).
“Madness” part uses Recorder 3, the latter part uses Recorder 2. Also, since Recorder 2 used for the latter part of the live has inter-track cuts, it will compensate for missing by Recorder 3 as much as possible.
Both are monaural Aud recordings and sound quality is better for Recorder 2, so it should be okay to cover all of them, but Recorder 2 is a recording from “wind blowing wind” to live concert, because “madness” is undelivered, This is an irregular editing. Also, because Recorder 3 was recorded for the middle part of “mystery”, mystery and blues, blues and sang praises were not compensated for each inter-track cut part, and cross-fade processing was smoothly applied so that there is no uncomfortable feeling.
Regarding these Recorder 2 and 3, both Recorder 3 and Disc 1 also use the same digital version used for compensation, Recorder 2 is not a net but a digital version (MD from M) from the collector’s master. Overall, adjustment of phase and volume, pitch, band, bubble wrap and periodic noise entry are done. Since the phase and the bandwidth are not adjusted in the already-released title, this alone will be a big advantage. Besides, although it includes both His as it is, freshness is prioritized without reducing reduction to take advantage of high frequencies. By the way, as for Recorder 2, the net version was also clear, but overall I felt a digital smell in Hiss with a bit rough, so at this time the version of this time will be better.
Regarding the editing of the whole Disc 2 – 3 as well, items edited with the interviews up to the intervals are unexpected, and although the Godfather board has been supplemented by the previous episode, because the whole sound processing is severe and the quinquin sound processed pseudo stereo, Again the title will be the decision board even in the part using Recorder 2, 3.

Double-sided print folding poster (240 mm square) woken directly from original LP comes with limited
With limited numbering (stamped under tray under jacket), the CD label is a picture disc and it is exactly The Best Of Tour 72.
A permanent specification love note item appears!

★ビンテージ名盤LP音源をテープ音源を補填して「狂気」完全盤化(Disc 1)
★テープ音源2種を編集したライブ全曲収録バージョンを収録(Disc 2-3)
Recorder 1・・・Vintage LP “The Best Of Tour 72″(16-421/422)。 「狂気」のみを収録
Recorder 2・・・モノラル・オーディエンス録音。「狂気」以外のライブ後半を収録
Recorder 3・・・モノラル・オーディエンス録音。「狂気」とライブ後半の「神秘」途中までの収録★収録コンセプト
Disc1・・・LP (狂気のみ)をメインにRecorder 3で補填して初期「狂気」完成版を再現

Disc1はLP時代から有名な “The Best Of Tour 72″(16-421/422)をメインに、欠落部をサブテープソースで補填した”狂気”完成版。

これを収録したオリジナルLP盤”The Best Of Tour 72″(16-421/422)はコーティングジャケで、1stイシューのジャケフロント面にはアーチスト名、タイトルが記載されておらず、また裏ジャケにはタイトルは記載されていますが曲名記載のないものがオリジナルで、その後オリジナルながらアーチスト名とLIVEというタイトルがフロントジャケに記載、裏ジャケに曲名記載された2ndイシューも存在。これらオリジナルLP盤は案外レア(特に初期ジャケ盤はレア)であり、テープから音盤化したLPもこれらオリジナルLPのみで、しかもテープは紛失したとされ現在まで流通していません。よってLP時代には”In Celebration Of The Comet”(TAKRL/1903)等のコピー盤で所持している方が実際多かったのではないでしょうか。
CD時代になってからもこのオリジナルLP(をコピーしたLPを含む)などの盤起こしCDが多数登場、NZCD盤、Seagull盤(トホホ盤)、Chapter One盤など様々なレーベルから1989年頃から順次登場しましたが、そのクオリティはピンキリで、「アナログ起こし」と言う親切な事前情報などあるわけもなく、聞いて見たらスクラッチ入りだったという状況。そんな初期CDアイテムの中でも1990年リリースのTSP盤CDが当時はベストだったのではないでしょうか。CD黎明期というと、ヒスやスクラッチ音は好まれない風潮にあり、TSPもリリースタイトルによってはNo Noise Systemをアピールしていました。今回の音源について改めてTSP盤CDを聞いて見ると、オリジナルLPにくらべ演奏の分離・鮮度は確実に落ちてますが、全体的には意外と聞けるサウンドで、CD黎明期のアイテムとしては十分なサウンド・プロダクションがなされたタイトルと感じました。ピッチがLP同様に全体に遅いのが惜しまれますが、当時の関連CDタイトル群とくらべても頭二つは抜き出たタイトルといえます。

90年代中頃になるとTSP盤CD以上の特筆すべきタイトルもなくリリース更新が停滞しますが、90年代末から2000年代に入り、ネットの普及によりトレードが容易になったことで再び動きがあります。まず2001年頃に”Time Ends”(STTP)という2CDタイトルが登場。これは”狂気”部分はTSPのコピーぽく、しかも狂気以降のライブ後半部分は実際には同日のライブではなく17日のライブを収録したもので、ここでも混沌としていた日付けクレジットの誤情報の影響を受けたものになりましたが、それでも結果的に近傍の公演のライブ後半部分が初めて音盤化されたこともあり一部ファンには十分に注目となります。
そして2003年初頭に2CDR盤 “RAINBOW DAY 1″(Ayanami)で17日公演の全貌盤が出たことで、混沌とした日付けクレジットが明確化、幾分是正されていきます(但しアングラトレーダー間では間違ったままの流通も一部ではしばらく続きました)
そして2006年頃には20日公演を3種の音源でまとめたSirene盤が登場。ここでやっと20日公演のライブ後半部分の音源が登場、さらに”狂気”部分のLPとは異なる別テープが登場したことで、当ライブの全貌がやっと明らかになります。もっとも、この時点では音源が3種(分類は解説上段の箇条書きを参照)であることまでは明確でなく、テープ音源部分については”狂気”部分とそれ以降のライブ後半部分の音源が互いに別テープ(Recorder 2と3の混合)であることが後々明確になっていき、2種のテープ音源が広く流通したことでやっと周知されていき、そのテープ音源2種を収録したタイトルもSigmaから近年発表されました。

・”The Best Of Tour 72″(16-421/422)は72年2月20日”狂気”部分のステレオAud録音(2月17日ではない)
・”The Best Of Tour 72″(16-421/422)のテープは紛失したとされる


もはや太刀打ちできないほど。それでいて音圧を稼ぐなどの余計な処理もされてないため、素材としては申し分のないものでした。このLP部分については音量とピッチの調整を施し、EQ処理は一切施してません。もっともピッチ調整がこのLP独特の問題点でもあり、元々全体的にピッチが低く序盤は0.3〜0.5%ほど低い状態をさまよいますが、これが一定ではなくドンドンと徐々に下がっていき、Money辺りでは3%近く低く、US AND THEMのカット部辺りで持ち直しますがそれでも1.2〜0.6%位低い状態を最後までさまようというもの。これを今回緻密な調整を施しアジャストしました。元々ムーディーな印象の強い”狂気”初期バージョンが、常々冴えない印象に感じていたのであれば、それはピッチが低かったからです。LPで4箇所ある欠落部には同日の”狂気”を収録したもう一つの音源であるRecorder3を適宜パッチしました(パッチポイントは曲目参照)。Recorder3はネットではなくコレクターの1st Genのバージョンで収録。Recorder3は元々ヒスノイズを多めに含んだ音源ですが、ピッチと音量調整と周期的に生じるプチノイズ除去のみを行い補填に使用。ネットバージョンでも既にLPにRecorder3を補填した疑似完成版は存在しますが、そこではLP部分がコンプがきつく、補填のRecorder3が疑似ステレオ処理がなどがなされたものですが、今回は補填Recorder3は素直なサウンドなので、LP音源との音質差はありますが、音源の切り替わりは慎重に行われ、なるべく違和感のない編集がなされています。ネオン氏もLP音源を発表後にRecorder3を用いた補填バージョンを発表しましたが、意外にもそこではかなり残念な音処理がなされており、また既発Godfather盤でも同様のコンセプトのタイトルがありますが、そちらも音処理が厳しく、今回のタイトルが素直に編集した疑似完成版として決定盤となるでしょう。


限定ナンバリング入り(ジャケ内側のトレイ下にスタンプ)、CDラベルはピクチャーディスクと、まさに至れり尽くせりのThe Best Of Tour 72。

Live at Rainbow Theatre, London, UK 20th February 1972

Disc 1 (50:24)

LP Source (Recorder 1)
Taken from The LP “THE BEST OF TOUR 72″(16-421/422)
01. Speak To Me (Rec 3+1)★0:00-3:07 Rec3で補填
02. Breathe
03. The Travel Sequence
04. Time (+Rec 3)★3:25-3:46 Rec3で補填
05. Breathe (Reprise)
06. The Mortality Sequence
07. Money
08. Us And Them (+Rec 3)★1:59-6:38 Rec3で補填
09. Any Colour You Like
10. Brain Damage
11. Eclipse (+Rec 3)★1:06以降Rec3で補填

Tape Source (Recorder 2+3)

Disc 2 (74:02)※狂気は全てRec3
01. Speak To Me
02. Breathe
03. The Travel Sequence
04. Time
05. Breathe (Reprise)
06. The Mortality Sequence
07. Money
08. Us And Them
09. Any Colour You Like
10. Brain Damage
11. Eclipse
12. Tuning ★Rec3
13. One Of These Days (Rec2) ★0:00-0:15 Rec3で補填 / 7:53-10:00(曲間部)Rec3
14. Careful With That Axe, Eugene (Rec2) ★10:59以降(曲間部)Rec3

Disc 3 (66:23)※メイン音源Rec2
01. Tuning ★Rec3
02. Echoes ★24:20-26:49(演奏後の曲間部)Rec3で補填
03. A Saucerful Of Secrets
04. Blues
05. Set The Controls For The Heart Of The Sun

SpeakEzy. SPE-072

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