Pink Floyd / Jersey City 1975 / 3CD

Pink Floyd / Jersey City 1975 / 3CD / Sigma
Live at Roosevelt Stadium, Jersey City, New Jersey, USA 15th June 1975

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The famous recording that has handed down the scene of “WISH YOU WERE HERE Tour” is brushed up by “GRAF ZEPPELIN” remaster. It is a definitive edition specification that has updated the highest peak in both length and sound, and it is decided to save it permanently.
The storyteller recording was recorded at “Jersey City Performance on June 15, 1975”. It is the excellent audience recording. “GRAF ZEPPELIN” has been reviving traditional masterpieces one after another, but this work is No. 1 in terms of “growth width”. It is the birth of a new masterpiece that is astonishing with the reborn sound. Before the quality you care about, first of all, the position of the show. Let’s look back from the panoramic view of “WISH YOU WERE HERE Tour”.

・ April 8-21: North America # 1a (8 performances)
・ April 23-27: North America # 1b (LA5 performance)
・ June 7-28: North America # 2 (15 performances) ← ★ Coco ★
・ July 5: Appearance at Knebworth Festival
“September 12,” WISH YOU WERE HERE “released”

This is the 1975 PINK FLOYD. Except for the last Knebworth, it was all in North America, with two laps in April and June. The Jersey City performance of this work is the first half of the latter half. It was the 6th performance of “North America # 1”. Originally it was scheduled as “June 14th” in the tour schedule, but it was raining on that day. It is said that it was changed to “June 15th” …. I’m sorry that I suddenly became unreliable, but in fact it has not been confirmed even now. Depending on the material, it is said to be “June 14th”, and there is no evidence that the jersey on that day was rainy. On the other hand, there is a theory that “June 12th was rainy and the venue was still unusable.” Anyway, as long as there is no definite information, this work is credited on “June 15” according to the history of the conventional sound source.
Although the digression has become long, this work is a live album where you can enjoy such a show with the longest and highest peak sound ever. The best master “RAVING MANIACS” has been refurbished and reborn as a different class. First, the length. It’s basically based on a famous recording by “Barry G.”, which is famous among collectors, but this has traditionally had its drawbacks, with a cut at the end of “The Great Gig In The Sky”. .. In this work, this part is complemented by another recording. It’s the longest ever (there’s another cut after “You Gotta Be Crazy”, but I couldn’t make up for it with another recording. However, it’s a part between songs without performance, so it’s a big problem. There is none).

The sound that goes through the whole story is longer than that length. This is completely different. If you write this, you may think, “Are you decorating with flashy Ikora?”, But that is not the case. To tell the truth, this recording has been distributed in a state where one channel is inverted for a long time, and it has a strangely separated and moco-moco sound. This reverse phase processing seems to have been performed when it was digitized, and it seems that it was published and distributed on the net in the inverted state.
Why was it distributed in such a state? It’s a complete guess from here, but maybe it was aimed at a pseudo-stereo effect. In the first place, the vintage audience is a very special genre in the audio world. Know-how was not established even when mastering became possible with a personal computer, and it was a dark search for what kind of sound to finish. Under such circumstances (rarely), there was a case where the phase of one channel was reversed in order to make the monaural recording stereo. This recording is considered an example.
Of course, in this work, the reverse phase is corrected to the positive phase. It is recorded in the original state at the time of recording. As a matter of fact, overseas enthusiasts who noticed the reverse phase problem have also released a master of similar processing, but this work goes even further. The phase adjustment by “GRAF ZEPPELIN” has an accuracy that does not allow a deviation of 1/1000 second, and this work is definitely the highest peak in the world. And the sound revived with that precision is exactly the “different / reborn” class. The clearness and details are the same as the previous ones, but while the conventional board was sounding with speakers placed far to the left and right, this work vividly draws the true umami on. , It is transformed into “in front of you”. Moreover, since the sound pressure is not earned or the sound is not processed, the tone and feel remain completely natural (By the way, the clock bell of “Time” is greatly distorted, but this is the venue sound itself. It was in the same state in another recording. ). It’s the first upgrade that I can’t think of as the same recording as before.

“Barry G.” who worked on this work is a master who worked on that “NASSAU COLISEUM 1980 FINAL NIGHT (Sigma 126)”. Maybe the microphone is different depending on the time, but the texture is different from “NASSAU COLISEUM 1980 FINAL NIGHT”, but this work has regained the original brilliance of the recording.
“GRAF ZEPPELIN” mastering is not “directing” but “reprinting”. Therefore, depending on the original condition, it may be difficult to realize the effect. However, listening to this work in one shot is totally different. A master recording that has been completely reborn as a different thing. Please experience it with the permanent storage press 2CD.

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REMASTERED BY GRAF ZEPPELIN

(Remaster memo)
★ From Rec1 as before. Recording by Barry Glassberg, known as the taper of Grateful Dead (for PF, NASSAU was with this person on February 28, 1980).

★ There was a problem with this Rec1 and the existing board, the left and right channels were out of phase, it was uncomfortable to sit on, and when I listened to it with headphones, it was a strange pseudo-stereo sound like the sound stuck to the left and right walls.
This sound source is based on the latest remaster released recently, and there was no problem of reverse phase. However, at first glance, it is actually a very simple monaural Aud, and if it is bad, the previous “reverse phase version” is better. Some people think it’s good to be pseudo-stereo (I can’t personally, but …)

★ The sound of the time intro clock chime SE is swaying, but the sound that flows at the venue is like this. (This sound swaying was the same even with another source)

★ One cut in the song is supplemented with another source. The other source is shorter and only one part can be supplemented. However, if you omit the beating sound SE at the beginning of Speak To Me, the actual performance part Was the first complete recording.

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★★ Excellent audience recording of “Jersey City Performance on June 15, 1975”. “GRAF ZEPPELIN” The highest peak board that was reborn as a different thing by remastering. It is supplemented by another recording and has updated the longest record, but the sound is more than that. At the stage of excavation of the master, the phase of one channel was inverted (did you try to produce a stereo feeling?), But this work was adjusted to the normal phase without any deviation of 1/1000 second. We have regained the direct feeling of the powerful core and the fineness of detail that were originally recorded. It is a press 2CD that permanently preserves the brilliance of a master recording.

“WISH YOU WERE HERE Tour”の現場を語り継いできた名録音が「GRAF ZEPPELIN」リマスターでブラッシュアップ。長さもサウンドも最高峰を更新した決定版仕様で永久保存決定です。
その語り部録音が記録されたのは「1975年６月15日ジャージーシティ公演」。その絶品オーディエンス録音です。このところ伝統の名作を次々と甦らせている「GRAF ZEPPELIN」ですが、こと「伸び幅」に関しては本作こそがNo.1。まるで生まれ変わったサウンドに目を見張る新名盤の誕生です。その気になるクオリティの前に、まずはショウのポジション。“WISH YOU WERE HERE Tour”の全景から振り返ってみましょう。

・４月８日ー21日：北米#1a（８公演）
・４月23日ー27日：北米#1b（LA５公演）
・６月７日ー28日：北米#2（15公演）←★ココ★
・７月５日：ネブワース・フェス出演
《９月12日『WISH YOU WERE HERE』発売》

これが1975年のPINK FLOYD。最後のネブワース以外はすべて北米で、４月と６月に２周する構成でした。本作のジャージーシティ公演は、その後半の前半。「北米#1」の６公演目にあたるコンサートでした。元々ツアー・スケジュールでは“６月14日”として予定されていたのですが、当日は生憎の雨。“６月15日”に変更された……と言われています。いきなり頼りなくなって恐縮ですが、実は現在でも確定されていない。資料によっては「６月14日」とされてもいますし、当日のジャージーが雨天だったとい証拠がない。その一方で「６月12日が雨で、会場がまだ使えない状態だったのではないか」という説もある。ともあれ確定情報がない以上、本作では従来の音源史に従って“６月15日”でクレジットしております。
余談が長くなってしまいましたが、本作はそんなショウを過去最長・最高峰サウンドで楽しめるライヴアルバム。ベスト・マスターであった『RAVING MANIACS』を磨き直し、別物級に生まれ変わっているのです。まず、長さ。基本的にコレクター間では有名な「Barry G.」による名録音をベースにしているのですが、これには伝統的に欠点があり、「The Great Gig In The Sky」の終盤でカットがありました。本作ではこのパートを別録音で補完。過去最長を更新しているのです（他に「You Gotta Be Crazy」後にもカットがあるのでが、ここは別録音でも補填不可能でした。ただし、演奏のない曲間パートですので大きな問題ではありません）。

その長さ以上なのが、全編を貫くサウンド。これがもう、完全に別物となっているのです。こう書くと「ド派手イコラで飾り立てている？」と思われるかも知れませんが、そうではありません。実は、この録音は以前から片チャンネルが反転した状態で流通しており、奇妙に分離しつつモコモコしたサウンドになっていたのです。この逆相処理は、どうやらデジタル化された際に施されたらしく、反転状態のままネット上に公開、流通したようです。
なぜ、そんな状態で流通してしまったのか？　ここからは完全に推測なのですが、恐らく疑似ステレオ効果を狙ったのではないでしょうか。そもそもヴィンテージ・オーディエンスというのは、オーディオ界でもかなり特殊なジャンル。パソコンでマスタリングが可能になった当時もノウハウが確立されておらず、どのようなサウンドで仕上げるかは暗中模索でした。そんな中で（希にではありますが）モノラル録音をステレオ化するために片チャンネルの位相を逆転されるケースもあった。この録音は、その一例と考えられるのです。
もちろん、本作では逆相を正相に訂正。録音された当時の本来の状態で収録しています。実のところ、逆相問題に気づいた海外マニアが似た処理のマスターも公開していますが、本作はさらに上を行く。「GRAF ZEPPELIN」による位相調整は1/1000秒のズレも許さない精度であり、本作こそが世界最高峰に間違いないのです。そして、その精度で甦ったサウンドは、まさに「別物・生まれ変わり」級。クリアさやディテールは既発と同じハズなのですが、従来盤が左右の遙か遠くに置かれたスピーカーで鳴っていた感覚だったのに対し、本作はオンな真のうま味が鮮やかに描かれ、まさに「目の前」に変貌している。しかも、音圧稼ぎも鳴り加工もしていないので音色も感触も完全ナチュラルのまま（ちなみに「Time」の時計ベルが盛大に歪んでいますが、これは会場音そのもの。別録音でも同じ状態でした）。以前と同じ録音とは思えないほどのアップグレードぶりなのです。

本作を手掛けた「Barry G.」は、あの『NASSAU COLISEUM 1980 FINAL NIGHT（Sigma 126）』を手掛け得た名手。時期によってマイクが違うのか『NASSAU COLISEUM 1980 FINAL NIGHT』と風合いが異なるものの、本作は録音本来の輝きを取り戻しているのです。
「GRAF ZEPPELIN」マスタリングは「演出系」ではなく「復刻系」。そのため、元の状態によっては効果を実感しにくい事もあります。しかし、本作は一発で聴いてまるで違う。完全に別物に生まれ変わった名手録音。どうぞ、永久保存プレス２CDで存分にご体験ください。

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REMASTERED BY GRAF ZEPPELIN

（リマスター・メモ）
★既発同様にRec1から｡　Grateful Dead のtaperとして知られるBarry Glassbergによる録音（PFだと80年2月28日NASSAUがこの人との事）

★このRec1､既発盤では問題があり､左右のチャンネルが逆相で､座りの悪い､ヘッドフォンで聞くと音が左右の壁に張り付いたような妙な疑似ステレオぽいサウンドであった｡
今回の音源は最近公開された最新リマスターを元にしており､逆相問題もなかった｡しかし､一聴すると実は非常に素朴なモノラルAudであり､下手すると前の｢逆相バージョン｣の方が疑似ステレオぽくて良いと思う人もいるかも(個人的にはあり得ませんが､､)

★Timeイントロの時計のチャイムSEは音が揺れまくってますが､会場で流れる音がこういうもの｡(別ソースでも､この音揺れは同様であった)

★曲中カットを1箇所別ソースで補填｡別ソースの方が短く､補填できたのは1箇所のみ｡但しこれにより演奏パートはSpeak To Meの出だしの鼓動音SEを省けば､実演奏部分は初の完全収録となった｡

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★★「1975年６月15日ジャージーシティ公演」の絶品オーディエンス録音。「GRAF ZEPPELIN」リマスターでまるで別物に生まれ変わった最高峰盤。別録音で補填されて過去最長を更新していますが、それ以上なのがサウンド。マスターの発掘段階で片チャンネルの位相が反転されていた（ステレオ感を演出しようとしていた？）のですが、本作は正相に戻した上で1/1000秒のズレもなく調整。本来録音されていた力強い芯のダイレクト感やディテールの細やかさを取り戻しました。名手録音の輝きを永久保存したプレス２CDです。

Disc 1
1. Intro.
2. Raving And Drooling
3. You Gotta Be Crazy
4. Shine On You Crazy Diamond Part 1-5
5. Have A Cigar
6. Shine On You Crazy Diamond Part 6-9

Disc 2
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

Disc 3
1. Audience
2. Echoes

Sigma 295