Pink Floyd / Earls Court 1973 2nd Night / 2CD

Pink Floyd / Earls Court 1973 2nd Night / 2CD / Sigma
Translated Text:
Earls Court Exhibition Hall, London, UK 19th May 1973


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The rare sound source of 73 years finally upgraded with 1st gen !!

In the history of Pink Floyd, it will be a 1973 performance that continues to be wrapped in the mysterious veil. Despite being an important tour accompanying the release of the album “THE DARK SIDE OF THE MOON”, the mysterious part is mostly due to the fact that the number of performances in this fiscal year was small and hence the existence / Because absolute number is small, it is nothing else. From Sigma, one of the world’s leading Floyd special labels, a number of titles that are grain-oriented have been released for many years, but the number of titles is still remarkably lower than the performances of other years.

How long are you currently able to remember that the title “EARLS COURT 1973 (Sigma 11)” appeared in 2008 when such label was first launched? This is a 4-tuple recording of 2DAYS held on Earl’s Court in England on May 18th and 19th, 1939. (* To be surprised, Floyd’s performances performed in May of 1939 are only for these two days ), Because it boasted long recording time and good sound quality than those of other labels that had been circulating until then, it was a major board supported largely from sound source fans all over the world at that time as the vertex board of this British performance 2DAYS . It is now a valuable board that makes it a clue to go out for second-hand market and shop auctions, but cuts in the middle of the first day sound source “Echoes” and “Any Color You Like” recorded on Disc 1 and 2 Sometimes it was an incomplete source, unfortunately production has been discontinued only for the first press and it has reached the present. However, this title Kimo was the sound source of the 2nd and 19th which was put in the discs 3 and 4 at all saying, which was quite excellent in tone quality and was also included in the uncut recording, even just As a valuable perfect sound source for 73 years with few numbers, I was shining that radiance for a long time.

However, in June of 2017 this year, a tremor will run in the sound source history. What suddenly appeared on the net was a tape sound source of the first generation = 1st gen directly dropped from the master cassette that recorded this May 19th. Uploader is Mr. Neonknight who continues to regularly publish Floyd’s good sound source, and it was a reliable upper sound source brought by his own backbone and route. When listening to the sound, in the already-released Sigma 11 version, it has an upper feeling that can hear the weak sound which was swallowed by the thickness of the sound and the sound image and it was hard to confirm, just the 1st gen unique output sound is resident It was. Just released sound source is recorded in the state of the first half of the show is 25% faster than the actual playing speed (※ The pitch control of the deck that played the master tape was slightly faster setting, recording on the day The deck that I did was late), it was also true that the sound image was wonderful but the ball had a flaw in quality. This is the latest work by skilled engineers at Sigma labels digitally adjusted at the optimal pitch, and the full show of 73 years with extremely high sound source value revived at the superb sound of 1st gen uncut is!!

Incidentally, at the Earl’s Court venue in 1973, Mr. Steve B, a name taper who left a record of many name recordings, carried out this Omoto master recording. He brought in his favorite Japanese deck and microphone, and it seems that he went on recording with two Phillips cassettes C 120 and C 60. The recorded position is accurately known as the entrance 40 of the arena, the block BB, and the seat E 14, and this is a fact that it was a very favorable recording position when checking on the following site where the seat table around 1975 comes out as illustrated. It is understood.

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It is easy to understand why the previously sounded Sigma 11 version sound was good in the position of this seat, but since this latest work is its 1st gen sound, how much added advantage and quality are there in there, I guess that you can imagine some extent from this seat list.

It will also be noteworthy that the resolution of the 1st gen can be felt in the sound image. For example, “Obscured By Clouds” decorating the opening which seems to be 73 years should instantly know that the sound density is increasing from its introduction, but here I want to pay attention to the volume feeling of the mid range compared to the sound of the Sigma 11 version Although the amount of information increases greatly, small sounds and weak sounds are not crushed, but rather the presence of microscopic sounds is increasing. Diffusion of the cymbal sound, delicate touch of the guitar, the sense of distinctness of the floating synthesizer are improved, and from the part where the rhythm starts moving (around ※ 2: 54 sec ~) it is a loud sound image where the axis in the song can be seen It must be astonishing. “When You’re In” is paying attention to the solo scene of an organ entering near 3 minutes 54 seconds. I think that the organ will appear with a timbre standing crisply so that you will be surprised by the comfort of listening to the power of the original sound and the tuning scene that enters after the end of the song has become a clarity sound that is very close to ever before. “Careful With That Ax, Eugene” is also a scene where the benefit of 1st gen can be felt, especially after the Scream, it is reviving with such sharpness and power that shaking trembling development after 6 minutes 19 seconds shakes. I really want to feel the wave of sounds that can only be realized in direct line directly here, and I hear whispering like Roger’s poetry recitation and the sound of a single tone from +1 to 1.5 from the already-produced sound Please be noted that it is easy to become easy. “Echoes” is a feeling of space and stereoscopic feeling which is not so far in the echo of the slide · guitar, the musical expression change and the musical scale magnitude which change are able to grasp with the highest hearing sense of the past I guess. The difference of the barking scenes is remarkable in the sharp reverberation of the guitar, and the contrast between rich organ exudings slowly re-emerging from the far side and the hard sonar sounds are also exceptional and can only be reached by them It has become one song that can reconfirm acoustic art with true true tone power.

The “dark side” in the latter half of the show is filled with a beautiful upper feeling. The thickness of the pulsation sound at “Speak to Me” and the sharpness of the SE appear from the nearness that is overwhelming, and “Breathe” seems to be able to capture the vividness and the closeness also to the singing voice that only the mellowness was conspicuous I think that you can see that the outline of the sound image and the outstanding are also improved. The long “On the Run” which seems to be in this period is filled with the excitement that the repeated sequence sequence sound continues to hit, and it should be overwhelmed by the direct feeling of the direct sound directed toward that one layer. “Time” increased the resolving power of Twin Chorus by Wright and Gilmore, and the hearing of the ensemble also increased, so that the process of opening up and converging expression became more obvious with an easy-to-understand sound. The clarity of the female chorus in the back has also increased the sense of expression more vividly and the “The Great Gig In The Sky” is also a piano melody that is decorated on that female chorus further entered Since it is out with a hard crystal sound, please check it by all means. “Money” comes out as a sound image in which the sound image which the ensemble looked like a mass of a sound in the pre-launch board can be seen in detail. The monologue’s collage entering from the last part also increases the reverberation by +1 and “Us And Them” also increases the sense of volume and the sound comes out with smooth sounds, so neither is basic You should be surprised by the difference in listening comprehension. “Any Color You Like” will revive with the sound of the guitar with a wide field of vision that runs around the field in an increasingly reliable sound. The scene where drums and organs are accompanied like a pushing sound in the second half also has a vivid impression which has never existed, and it seems that it can be said that it is a first act to feel the power of young generation of generations to be fairly distinctive also here. “One Of These Days” will also be revived with a burning irony sound like burned iron and the feeling that the beat of the song that can be received as an elegant provocation will come directly into the body. As you can see, on this day the monologue by Nick is “nothing” and it will move on to the development in the second half, but this appearance will be enjoyed with a sound which is different from what it was far. In addition, since the expansion of the middle stage where the synthesizer’s spicy sound strongly emerges emerges at the perfect feeling of the direct sound of the original sound, the afterglow after listening also comes at the depth of the next level.

Even if you pay attention to every scene, the first-experiences upper / sound got stuck, the 73rd year Earls Court day 2 which can be experienced with the master sound which could not be reached by the previous Sigma 11 version. Though it is said that listening comfort can be said to be a different thing by becoming to be able to feel preeminent three-dimensional feeling in the manner of sound and how to get between, this is simultaneous release of music with a long range of Floyd at that time in 73 years It will be a pleasure to be noticed once again. As I also mentioned at the beginning, the Sigma 11 version was out of print and became a hard-to-find title with a premium even in secondhand markets, and it was a barrier to the collection for fans who could not handle at that time. However, this weekend that the 1st gen sound realizes beyond the space-time sky of 44 years, it is a great opportunity to listen to the performance of this day with the high performance sound exceeding the already-existing board from the beginning. And those who already owned Sigma 11 version must be excited with surprises that the memory of the sounds heard will be reworked one by one due to the increased sound image resolution and the improved feeling of the midrange sound output level. Earls Court on the 2nd day which will be resurrected with 1st gen ‘s rich sound image, this Sigma latest work, which is deeply groaned by the true potential of a particularly rare May performance even in precious 73 years, please expect it!

73年のレア音源が遂に1st genでアップグレード!!

ピンク・フロイドの歴史上、未だ神秘のヴェールに包まれ続けているのが1973年の公演でしょう。アルバム『THE DARK SIDE OF THE MOON』発表に伴う重要なツアーであるにも関わらずミステリアスな部分が多いのはひとえにこの年度の公演数が少なかったこと、そしてそれ故に現存・確認されている録音の絶対数が少ないからに他なりません。世界屈指のフロイド専門レーベルである当Sigmaからは音質優良で粒選りの73年タイトルが幾つもリリースされてきましたが、しかしそれでも他年度公演より著しくタイトル数が少ないのが現状です。

そんな当レーベル発足当初の2008年に『EARLS COURT 1973 (Sigma 11)』というタイトルが出ていたのを御記憶の方は現在どのくらい居られるでしょうか。これは73年5月18日と19日、英国アールズコートで行なわれた2DAYSを両日収録した4枚組で(※ 驚く事に73年5月にフロイドが行った公演は僅かこの2日間だけです)、それまで出回っていた他レーベルの既発盤より長い収録時間と音質の良さを誇っていた為、この英国公演2DAYSの頂点盤として当時世界中の音源ファンから大きく支持された名盤でした。現在では中古市場やショップのオークションに出ると取り合いになるほどの貴重盤となっておりますが、ディスク1と2に収録された初日音源の「Echoes」と「Any Colour You Like」の途中でカットがある不完全なソースだった事もあり、残念ながら初回プレス分のみで生産が打ち切られたまま現在に至っています。ただこのタイトルのキモは何と言ってもディスク3と4に収められていた2日目・19日の音源で、これはなかなか音質が優秀だったうえにノーカット収録だった事もあり、ただでさえ数が少ない73年の貴重なパーフェクト音源として長くその輝きを放っていました。

ところが今年2017年の6月、その音源史に激震が走ります。何とこの5月19日を収録したマスターカセットから直落としした第一世代=1st genの蔵出しテープ音源が突如ネットに現れたのです。アップローダーはフロイドの優良音源を定期的に公開し続けているNeonknight氏で、彼独自のバックボーンとルートによってもたらされた確かなアッパー音源でした。音を聴いてみると既発のSigma 11版では響きや音像の厚みに飲み込まれて確認し辛かった微弱音も聴こえるアッパー感を備えており、まさに 1st genならではの出力感豊かな響きが宿っていたのです。ただ公開された音源はショウ前半の殆どが実際の演奏速度よりも25%ほど速い状態で収録されており(※ マスターテープを再生したデッキのピッチコントロールが若干速めの設定だったか、当日現地で録音したデッキが遅めだったのでしょう)、音像は素晴らしいながらもクオリティ的には玉に瑕があったのも事実でした。これをSigmaレーベルの熟練エンジニアが波形を整えながら最適なピッチでデジタル・アジャストしたものがこの最新作で、音源的価値の極めて高い73年のフル・ショウが1st genノーカットの極上サウンドで甦ったのです!!

ちなみに73年のアールズコート会場でこの大元マスター録音を敢行したのは、名録音を多く残した名テーパーSteve B氏。彼はお気に入りの日本製のデッキとマイクを持ち込み、これにフィリップス製のカセットC120とC60の2本を仕込んで収録に臨んだ様です。録音位置はアリーナの入口40、ブロックBB、座席E14と正確に判明しており、これを1975年頃の座席表が図解入りで出ている下記サイトでチェックすると大変好条件な収録位置だった事が分かるのです。 こちら

前述した既発Sigma 11版のサウンドが程度良好だったのもこの座席の位置で容易に理解出来ますが、本最新作はその1st genサウンドですから、そこにどれだけのアドヴァンテージとクオリティを備わっているか、この座席表からも或る程度御想像戴けるのではないでしょうか。

また音像に1st genならではの分解能が感じられる様になった事も特筆されるでしょう。例えば73年らしいオープニングを飾る「Obscured By Clouds」はその導入から音密度が増しているのが瞬時にお分かり戴ける筈ですが、ここで注目したいのはSigma 11版のサウンドより中域の量感と情報量が大きく増しているのに小さな音や弱音が潰れず、むしろ微細な音の存在感が増している点です。シンバル音の拡散やギターの微妙なタッチ、浮遊するシンセサイザーの明瞭感も向上していますし、リズムが動き出すパート(※ 2分54秒付近~)からは曲の中の軸が見えるラウドな音像に仰天されるに違いありません。「When You’re In」は3分54秒付近から突入するオルガンのソロ・シーンに注目です。これまでよりキリッと立った音色でオルガンが現れて原音力に充ちた聴き心地に驚かれると思いますし、終曲後に入るチューニング・シーンもこれまで以上に超至近な鮮明音になっています。「Careful With That Axe, Eugene」も1st genの恩恵が感じられるシーンが目白押しで、特にスクリーム後、6分19秒以降の凄まじいあの展開が身震いする様な鋭さと威力で甦っているのです。まさに原音直系でしか有り得ない音の波動をここでは是非感じて戴きたいですし、そこに至るまでのロジャーの詩の朗読の様な囁きと単音の響きも既発サウンドより+1~1.5ほど聴き取り易くなっていますので是非御注目下さい。「Echoes」はスライド・ギターの響きにこれまでに無い空間性と立体感が間近で感じられ、移ろいでゆく音楽的な表現変化と音楽的スケールの大きさが過去最高の聴感覚で掴んでゆけるでしょう。鳴き声のシーンもギターの鋭い残響感に違いが顕著ですし、彼方からゆっくり再浮上してくる豊かなオルガンの滲み出しと硬質なソナー音の対比も格別で、まさに彼らでしか到達し得なかった音響芸術を真の原音力で再確認出来る1曲となっています。

ショウ後半の” ダークサイド “も麗しいアッパー感で満ちています。「Speak to Me」での脈動音の肉厚さとSEの鮮明さも度肝を抜かれる近さから現れますし、「Breathe」ではまろやかさだけが目立っていた歌声にも近さと鮮やかさが感じ取れる様になっており、音像の輪郭と際立ちも向上しているのが分かると思います。この時期らしい長尺な「On the Run」も繰り返されるシーケンス音が直撃し続ける興奮で充ちており、その一皮向けた原音のダイレクト感に圧倒される筈です。「Time」はライトとギルモアによるツインコーラスの分解力が高まり、これにアンサンブルの聴こえも増した事から表現の開放と収束のプロセスが一段と分かり易い音で迫れる様になりました。バックの女性コーラスの明瞭感も増した事でその表現が一層鮮やかに感じ取れる様になっていますし、「The Great Gig In The Sky」もその女性コーラスに装飾されるピアノ旋律が更に芯の入った硬質クリスタルな音で出ていますので是非チェックしてみて下さい。「Money」は、既発盤ではアンサンブルが一つの音の塊の様だった音像が細部まで見える音像で出てきます。終曲部から入るモノローグのコラージュも残響感が+1ほど増していますし、「Us And Them」も音の量感が増した上にサウンドの滑らかさが惹き立つ音で出てきますので、どちらも基本的な聴き応えの違いに驚かれる筈です。「Any Colour You Like」では場内を縦横無尽に駆け巡る視野の広いギターの響きがますます確かなサウンドで甦ります。後半で音を押し込む様にドラムとオルガンが併奏するシーンもこれまでに無い鮮やかな迫力が宿っており、ここも世代の若い音の威力をまじまじと感じる一幕と言えそうです。「One Of These Days」も焼けた鉄の様な熱っぽい音で甦っていて、エレガントな挑発とも受け取れる曲の鼓動が直接体に入ってくる感覚に見舞われるでしょう。御存知の通りこの日はニックによるモノローグが” 無い “まま後半の展開に移ってゆく訳ですが、この様子もこれまでとは別格のサウンドでお愉しみ戴けます。またシンセサイザーのスペイシーな音色が強く浮き立つ中盤の展開も原音の直球感満点で出てくるため、聴後の余韻もネクストレベルの深さで押し寄せてくるのです。

どのシーンに注目しても初体験のアッパー・サウンドが漲り、既発Sigma 11版では到達出来なかったマスター・サウンドで体験出来る73年のアールズ・コート2日目。響きと間の取り方に抜群の立体感が感じられる様になった事でその聴き心地は別物と言えるほどですが、これは同時に73年当時のフロイドがどれだけ射程距離の長い音楽を解き放っていたかに改めて気付かされる喜びでもあるでしょう。冒頭でも書いた通りSigma 11版はとうに廃盤で中古市場でもプレミアが付く入手困難タイトルとなっており、当時手に出来なかったファンにはコレクションに立ちはだかる壁となっていました。しかし44年の時空を超えてその1st genサウンドが実体化する今週末は、最初から既発盤超えの高性能サウンドでこの日の演奏が聴き尽くせる絶好のチャンスとなっています。そしてSigma 11版をお持ちだった方はこの音像分解能の高まりと中音域出力レベルの向上感によって、聴き込んだ音の記憶が次々と塗り替わってゆく驚きで胸躍るに違いありません。1st genのプレゼンス豊かな音像で甦るアールズコート2日目、貴重な73年中でも特にレアな5月公演の真のポテンシャルに深く激しく唸らされるこのSigma最新作、是非御期待下さい!!

Disc 1 (67:57)
1. Obscured By Clouds 2. When You’re In 3. Tuning 4. Set The Controls For The Heart Of The Sun
5. Tuning 6. Careful With That Axe, Eugene 7. Echoes

Disc 2 (61:27)
The Dark Side Of The Moon

1. Speak to Me 2. Breathe 3. On the Run 4. Time 5. Breathe (Reprise) 6. The Great Gig In The Sky
7. Money 8. Us And Them 9. Any Colour You Like 10. Brain Damage 11. Eclipse
12. Tuning 13. One Of These Days

Sigma 191

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