Pink Floyd / Radio City Music Hall 1973 / 2CD

Pink Floyd / Radio City Music Hall 1973 / 2CD / Sigma

Translated Text:

Live at Radio City Music Hall, New York City, NY. USA 17th March 1973

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Pink Floyd in a hot topic with new source release 1973 New York sound source is the world’s fastest pressing sound!
All scenes The strongest sound quality + the longest version is an emergency release !!

This March 17th New York performance has been familiar to fans long ago as a representative sound source that can grasp the state of the beginning of the 73rd year tour. As you can see, in the early stages of the 73-year tour the first half of the show composition was fluent, the earliest was playing “Echoes” as an opening song, and it was the 13th tour of Boston “Careful With That Ax, Eugene “, and I followed the circumstances when” Obscured By Clouds ~ When You’re In “began opening from the 15th performance eyeshot performance day (March 17th). Regarding the performance day, there is also the theory of the Waterbury performance on the following 18th (* In the recent years, being a New York show on 17th by various examination is effective), in any case, There is no room for objection that it is an interesting time when the composition of the first half of the show is not completely determined.

Interestingly, there are only 7 currently known recordings of the day, and our gift was “RADIO CITY MUSIC HALL 1973 (Free 2 CDR)” that spotted one of its sources (* Recorder 2) · I released a terrible response. This latest work that appears this time is a different source called Recorder 4 which was released in 2018 this year, as a separate recording exceeding the Recorder 2 (※ above gift board use source) which sound quality was good even in existing same day sound source as between another taper It was a source whose existence was known for a long time. Unfortunately this Recorder 4 has a fatal weak point that it is recorded only halfway through the darkside full reproduction of the show, and even in the first half of the show which is a kimo to listen to, the inter-track scenes are almost cut It seems that it was recognized as a source which lacked imitation in the decision striking in other sources which line up satisfying the completeness of the recording and the goodness of the sound quality as it is because it is because it is.

But if you focus only on its extraordinary characteristics, that is to say the sound quality, this Recorder 4 has a direct naked feeling of direct striking of peeling off 3 sheets of the veil of that sound we have become familiar with our source, There is no doubt that it is top in the existing source. Moreover, since the thing which up-converted the original sauce was published in the electric shock, it is also impossible for Floyd sound source fans all over the world to turn hot eyes. In other words, having a sound quality that can verify details, in other words this is a translation that can be said as a source that dramatically increases the degree of comprehension in the early stage of the 73 years of performance, It would be like trying to figure out the truth with an uncertain material to tell the performance of this time without using this as the main sound source. Fortunately this performance has lots of existing sources, so we have everything that perfectly compensates for the scene missing of Recorder 4 that we did, so we picked up a good quality source and digitally repaired the same part in milliseconds If you restore the show as historically, you should be able to dramatically increase your understanding of this day. The one that realized this is the latest work of Sigma, that is, based on Recorder 4, it rebuilds + remastered with another best source and restores it, and also combines the best vintage as the longest version of history, the strongest 73 years in history It is a New York show !!!

The resurrecting high-performance sound and the completeness of the scene are overwhelming from the “Obscured By Clouds” which displayed the opening of the show for the first time on this day. Especially, since the recording starts from about 1 minute 34 seconds before the recording of the existing song Recorder 2, the song introduction part has become the first appearance scene to suddenly update the recording time from the disk start. In addition, it is noteworthy that the cymbal notches that heard almost nothing in Recorder 2 (* 1: 58 ~) are clearly heard, and the sound of the early stage that aimed at the droning effect with two synthesizers also lost its sound The goodness and the upper feeling are terrible, every sound comes out with the sharpness exceeding the Recorder 2 and the nearest sound. “When You’re In” is a feature of Recorder 4, there is an abnormal sound that seems to have dropped something on the recording machine in the vicinity of 3: 12 ~ 18 (= probably the direction of the microphone has changed, Although it gets distant), this also spreads a sharp response from the position where the position of the microphone is returned, and the metallic shine which can be said to be a kimo of this song will hit with the strongest sound presentation in sound source history. In addition, although it is faded out at 7 minutes and 27 seconds after the end of the song at the public source, the missing (* cheering part) from here to 9 minutes 08 seconds is also maintained at the same position of the Recorder 2 to maintain the continuity of the scene did. Of course this is the only advantage Advantage of this work which is not in the public source.

In “Set The Controls For The Heart Of The Sun”, the interlude section, the first synthesized sound effect sound effect insertion scene appears with excellent luster in exceptional order, and the clarity of tom’s hammering sound and the goodness of missing are also We are expanding the gap. Also here also crossfade connected missing public sources that had been faded out in about 5 seconds after the end of the song at the same position on the pre-launch board, and Roger’s “Thank you!” Existing in this section, about 1 minute 30 seconds I restored the succeeding dense tuning scene completely. In “Careful With That Ax, Eugene”, Roger’s heroic appearance as a bassist stands out further. For example, the effect that he shakes the rhythm over and over with a lack of octave sounds that last for nearly three minutes from around 3 minutes and 24 seconds, and the appearance that he continues to play rapid riff for nearly one minute from around nearly five minutes more than ever Both 2 ranks and 3 ranks appear with clear sounds, and unusual scenes that spit Long Breath twice at the end part also come out with the vividness of the scene feeling full. And here also crossfade connected in the same scene of Recorder 2 in Recorder 4 which had been fading out in just a few seconds after the last song, and regained about 45 seconds lost, raised the integrity of the scene. “Echoes” also supplemented the scene missing of about 20 seconds that existed at 16 minutes 09 seconds of the original source at the same position on the pre-launch board, and the dynamic feeling of the scales of the song and the rhythm are correct in a clear form It has a sense of reviving upper.

In the complete reproduction of the dark side, Recorder 2 first compensated for the early stage of the heart sound scene of “Speak To Me” missing in Recorder 4 (* disk start ~ up to around 1: 50). Shifting to Recorder 4 with Crossfade 1:50 and beyond that heart sound SE will not be heard for a while, but this is due to the difference in the recording position and there is no mistake in recording from the same performance the same day on the same day. By the way, there is almost no example even at the other day sound source of the same year as the sound source recorded for only 3 minutes and 40 seconds only at the beginning of this show, so this will be a meaningful upgrade as a documentary at the beginning of 1973. “Time” is also beautiful wave of sound that is beautiful, it is a nice upper feeling that Rick’s voice which you could hardly understand is firmly heard, and even on “The Great Gig In The Sky” it is also a female vocal at the other same day source Unfortunately direct and dazzling musical emissions develop one after another, but unfortunately recording is interrupted near 3:17 in the middle of performance, and Recorder 2 will be the main player until the disk end.

And rediscovering the ability of the Recorder 2 sound from here on is also the charm of this work. Especially remarkable is the serenity peculiar to Recorder 2 which drifts over the entire sound image, and its resolving power, which is not related to hiss noise, can be said to be an attraction that can not be reached even with Recorder 4. Moreover, the superb polyphonic harmony which can be heard with key points of “Eclipse” should be surprised again by the sound potential which does not listen to it at all. Incidentally, at 1:55 of “Us and Them” which was a missing peculiar to Recorder 2 (probably due to a tape change), it is crossfaded to another Recorder 1 (※ monophonic recording) and this is the next song “Any Color You Like “until 3:35. A characteristic scene (※ 0: 29 ~ 32) that the synthesizer will flip out as “On The Run” setting as it is pleasantly luxurious and high resolution sound peculiar to Recorder 1 about 4 minutes 20 seconds in this section And the sharp sound gloss of the guitar, and the way in which the sound comes out ideally. The encore “One Of These Days” also shows that Gilmore plays an awesome long sustain with a bottleneck playing style with the elongation and amplitude of the breathtaking timbre peculiar to Recorder 2, and if this day when the whole sound is lowered and it is fastened The sound is sharp at the end of the part, let’s say that ecstasy that this can be placed by the press board is unique in this latest work.

Another noteworthy point about the recording source is that the surrounding cries and strange sounds emitted near the Recorder 2 are heard remotely at the places of Recorder 4 when the performance of each song enters or ends, It is an interesting topic that you can see that it was in “a location that is not as far apart as it is, but it is not so distant”. For example, a strange sound emitted from nearby at 4:48 of Recorder 2 “Obscured By Clouds” can be heard at 5:54 of the same song on Recorder 4 (= this disc 1), and Recorder 2 “Set The Controls …” The position where each sound recording machine was located appears to be dimly lost by the manner in which the firecracker pop explosion sound at 1:36 is heard with a different distance feeling at the same 1:36 of Recorder 4 as well. These differences obtained by sound images with different standing positions are connected directly to the expansion and deepening of the understanding of the performance sound that is likely to be biased by only one source, so if you already have a gift title you already have, After purchase it measures not only the sound quality but also the distance of the sound and the sound
Listening to it will also help to improve the understanding of the performance of this day. And it is the best sound quality that made use of the best sources that exist, and it is the longest record of all the scenes that it can discover such added value. The long-awaited wisdom of the New York sound source history gathered, and full-restored This enchanting Sigma latest work, please try by all means!


この3月17日ニューヨーク公演は、73年ツアー初頭の様子を掴める代表的な音源として古くからファンに親しまれてきました。御存知の通り73年のツアー最初期はショウ前半のセット構成が流動的で、最も初期には「Echoes」をオープニング曲として演奏しており、それが13公演目のボストンで「Careful With That Axe, Eugene」に変わり、15公演目の本作収録公演日(3月17日)より「Obscured By Clouds ~ When You’re In」がオープニングになった経緯を辿りました。公演日については翌18日のウォーターベリー公演説もあるのですが(※ 様々な検証によって近年では17日のニューヨーク公演である事が有力です)、いずれにしても73年ツアー最初期特有の、ショウ前半の構成が完全に定まっていない興味深い時期である事に異論の余地は無いでしょう。

興味深い事にこの日の録音は現在知られているだけで7つ存在し、当店でもそのソースのひとつ(※ Recorder 2)にスポットを当てた『RADIO CITY MUSIC HALL 1973 (無料2CDR)』を以前ギフト・リリースして大変な反響を呼びました。今回登場するこの最新作は今年2018年になって公開されたRecorder 4と呼ばれる別ソースで、現存する同日音源中でも音質良好だったRecorder 2(※ 上記ギフト盤使用ソース)を上回る別録音としてテーパー間では以前から存在が知られていたソースでした。ただ残念ながらこのRecorder 4はショウの半ば・ダークサイド完全再現の途中までしか収録していないという致命的な弱点を持っており、聴きどころのキモとなるショウ前半でも曲間シーンが殆どカットされているという理由から、収録の完全性や音質の良さをそれなりに満たして立ち並ぶ他ソースの中にあっては、決定打にイマイチ欠けるソースとして認識されていた様です。

でもその非凡な特性、すなわち音質のみに焦点を当てれば、このRecorder 4は私達が既発ソースで慣れ親しんできたあの音のヴェールを3枚4枚も剥ぎ取る直撃のネイキッド感を持っており、間違いなく現存ソース中トップなのも確かです。しかもその元ソースをアップ・コンバートしたものが電撃公開された訳ですから、世界中のフロイド音源ファンが熱い視線を向けるのも無理ありません。またそうして細部まで検証出来る音質を持っているという事は、言い換えればこれはショウ前半の構成が定まっていない73年公演最初期の理解度を飛躍的に高めてくれるソースとも言える訳ですから、これを主力音源にせずこの時期の演奏を語るのは不確かな素材で真実を見極めようとする様なものでしょう。幸いにしてこの公演は現存するソースが多いため、そうしたRecorder 4のシーン欠落を完璧に補えるものが揃っていますから、その中で質の良いソースを取り出して同部分をミリ秒単位でデジタル修復し、ショウを史実通りに復元すればこの日の理解度を飛躍的に高められる筈です。これを実現させたものが当Sigma最新作、すなわちRecorder 4をベースにして足りない箇所を他の最良ソースでリビルド+リマスター復元し、過去最長版としてのアドヴァンテージも兼ね備えた史上最強の73年ニューヨーク公演なのです!!!

その甦る高性能サウンドとシーンの完全性は、この日初めてショウのオープニングを飾った「Obscured By Clouds」から圧倒的。特に楽曲導入部分は既発Recorder 2の収録よりも約1分34秒間ほど手前から録音が始まっているため、ディスク・スタートからいきなり収録時間を更新する初登場シーンとなっているのです。またRecorder 2では殆ど聴こえなかったシンバルの刻み(※ 1:58~)が明瞭に聴こえている事も特筆されますし、2台のシンセサイザーでドローン効果を狙った序盤の音の営みもその音抜けの良さとアッパー感が凄まじく、あらゆる音がRecorder 2を超える鋭さと至近音で出てくるのです。「When You’re In」はRecorder 4の特徴として3:12~18付近で録音機に何か落としたと思われる異音が入っている(= 恐らくマイクの向きが変わり、この数秒間だけ音が遠くなる)のですが、これもマイクの位置を戻したところから更にレスポンス鋭い音像が拡がり、この曲のキモと言えるメタリックな輝きが音源史上最強のサウンド・プレゼンテーションで襲い掛かります。また公開ソースでは終曲後の7分27秒でフェイドアウトしていますが、ここから9分08秒までの欠落(※ 歓声部分です)もRecorder 2の同位置で補う事でシーンの連続性を維持しました。勿論これは公開ソースには無い本作だけのアドヴァンテージです。

「Set The Controls For The Heart Of The Sun」では間奏部、注目のシンセサイザー効果音初挿入シーンが桁違いに優れた音艶で現われ、タムの打音の明瞭さと抜けの良さも既発サウンドとの格差を拡げています。またここも終曲後僅か5秒程度でフェイドアウトしていた公開ソースの欠落を既発盤の同位置でクロスフェイド接続し、この区間に存在するロジャーの「Thank you!」や約1分30秒間ほど続く濃密なチューニング・シーンを完全復元しました。「Careful With That Axe, Eugene」ではベーシストとしてのロジャーのヒロイックな姿が更に際立ちます。例えば3分24秒付近から暫く続くオクターヴの音抜きで彼がリズムを何度も小刻みに揺らす効果、更に5分ジャスト付近から約1分間強に渡って急速なリフを弾き続ける姿がこれまでより2ランクも3ランクも鮮明な音で現われ、終曲部でロングブレスを2回吐く珍しいシーンも現場感満点の鮮烈さで出てくるのです。そしてここも終曲後僅か数3秒でフェイドアウトしていたRecorder 4の欠点をRecorder 2の同シーンでクロスフェイド接続、失われた約45秒間程度を取り戻してシーンの完全性を上げました。「Echoes」も元ソースの16分09秒に存在した約20秒間のシーン欠落を既発盤の同位置でクロスフェイド補填し、曲のスケール感とリズムのダイナミック感が正しい姿で、しかも鮮明に甦るアッパー感を備えています。

ダークサイド完全再現は、まずRecorder 4で欠落していた「Speak To Me」の心音シーン序盤(※ ディスクスタート~1:50付近まで)をRecorder 2で補填しました。クロスフェイドでRecorder 4にシフトする1:50以降からその心音SEが暫く聴こえなくなりますが、これは録音位置の違いによるもので同日同公演・同タイムからの収録で間違いありません。ちなみにこのショウ後半開始部分だけで3分40秒間も収録している音源は同年の他日音源でも殆ど例が無く、これは73年初頭のドキュメンタリーとしても意義深いアップグレードでしょう。「Time」も弾力ある響きの波動が美しく、これまで判り辛かったリックの声がしっかり聴こえているのも嬉しいアッパー感ですし、「The Great Gig In The Sky」でも女性ボーカルに他の同日ソースでは感じられない直接的で眩しい音楽的放射が次々と展開するのですが、残念ながら録音はパフォーマンス途中の3:17付近で途切れ、その先はディスクエンドまでRecorder 2が主役となります。

そしてここから先のRecorder 2サウンドの実力再発見もまた本作の魅力です。特に顕著なのは音像全体に漂うRecorder 2特有の静謐さで、ヒスノイズとは無縁のその解像力はRecorder 4でも届かない魅力と言えるでしょう。また「Eclipse」の要所で聴ける見事な多声ハーモニーもその全く聴き劣りしないサウンド・ポテンシャルに改めて驚かされる筈です。ちなみにRecorder 2特有の欠落(※ 恐らくテープチェンジによるもの)であった「Us And Them」の1:55では更に別のRecorder 1(※ モノラル録音)にクロスフェイド接続しており、これが次曲「Any Colour You Like」の3:35まで続きます。この区間約4分20秒間ほどもRecorder 1特有の豪奢にして解像力の高いサウンドが愉しめ、シンセサイザーが「On The Run」のセッティングのまま弾き出してしまう特徴的なシーン(※ 0:29~32)やギターの鋭い音艶、またその音の抜け具合が理想的な姿で出てきます。アンコール「One Of These Days」もギルモアがボトルネック奏法で凄まじいロングサスティーンを奏でる姿がRecorder 2特有の息を呑む音色の伸びと振幅で出てくるほか、全体音を下降して締めるこの日ならではの終曲部も音が鋭く、これをプレス盤で傍に置ける恍惚は本最新作ならではと申せましょう。

また録音ソースに関するもうひとつの注目点として、各曲の演奏突入時や終了後にRecorder 2付近で発される周囲の雄叫びや奇声がRecorder 4のところどころで遠めに聴こえており、この2つの録音機は「それなりに離れた位置ではあるものの、でもそんなに遠くはない位置」にあった事が判るのも面白いトピックです。例えばRecorder 2「Obscured By Clouds」の4:48で近くから発される奇声がRecorder 4(= 本作ディスク1)同曲の5:54で聴こえたり、Recorder 2「Set The Controls…」の1:36にある爆竹破裂音がRecorder 4の同1:36でも違う距離感で聴こえるなど、その聴こえ方で各録音機があった位置がおぼろげに見えてくるのです。立ち位置が異なる音像で得られるこうした違いは1ソースだけでは偏りがちな演奏音の理解度を拡げ・深める事にもそのまま繋がっていますので、既発のギフトタイトルをお持ちの方は本作御購入後にその音質だけでなく、音色や響きの距離を計


Disc 1 (68:48)
1. Obscured By Clouds 2. When You’re In 7:24 – 9:08 既発補填
3. Set The Controls For The Heart Of The Sun ★13:54 – 最後まで既発補填
4. Careful With That Axe, Eugene ★0:00 – 0:02 既発補填 ★13:02 – 13:46 既発補填
5. Echoes ★16:08 – 16:29 既発補填

Disc 2 (55:33)
The Dark Side Of The Moon
1. Speak To Me ★0:00 – 1:50 既発補填 (1:50以降は心音が聞こえないが同公演でで間違い無し)
2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise)
6. The Great Gig In The Sky ★3:17 以降 Disc2終了迄既発補填。
7. Money 8. Us And Them 9. Any Colour You Like 10. Brain Damage 11. Eclipse
12. One Of These Days

Sigma 215

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