Pink Floyd / Definitive Boston 1972 Joe Maloney Master / 2CD

Pink Floyd / Definitive Boston 1972 Joe Maloney Master / 2CD / Sigma 198

Translated Text:
Live at Boston Music Hall, Boston, MA. USA 4th May 1972

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“Pink Floyd × Famous name taper”. We are excited about excitement that we get lost in the charm of an unofficial sound source only by that combination already, but finally we came here and the veil of original recording was peeled off at that sound source. Two works suitable for concluding the catalog number 100 series of world-famous floyd special label Sigma are appearance!

… That name is Joe Maloney.
If you are in contact with an unofficial sound source, you always hear a name. He is a legendary American taper who used a wide variety of rock artists’ 1970’s live sounds in super high sound quality, he is active at the same time It is an unofficial recording world giant who is in line with Mike Millard and Dan Lampinski. What Milard recorded is “Millard tape”, Lampinski’s recorded is “Lampinski recording”, it is called with familiarity, but a series of recordings recorded by Maloney was “Joe Maloney Archives “Queen, Rolling Stones, Jeff Beck, Led Zeppelin, David Bowie etc, all of which are of high quality and high sound quality, high document material value It is also a feature of many recordings.

He caught Pink Floyd’s performance in Boston, Massachusetts, USA in the early 1970s. Although any artist who recorded the record that Marooni left behind is a lot of Boston performances (it is probably because his residence and activity base was at the east coast at the time), it is amazed at the unofficial sound source fans around the world later It was a live recording at the Boston Music Hall in 1972 and 1973. Especially in the 72 years Boston was the final day of the first North American tour in May which was not known until the end of the actual show show so the material value was extremely high, but that suddenly, There was a tremendous impact on the impact that appeared in excellent recording by. This pattern was released from the Sirene label from Sirene label as “BOSTON 1972 (Sirene-068)”, as well as from the Sigma label also a two-disc bonus CDR of “CARNEGIE HALL 1972: STEREO MASTER (Sigma 145)” It is re-appearing as.

However, although their titles (* hereinafter will be referred to as “already-to-be-released”) were certainly superior recordings, the master sound source used for the sound formation was a generation overlapped (* probably 1st Gen or 2nd Gen In particular, in Boston in 1972, Boston had a weak point that the sound was slightly dull as a whole (although it is still * enough, it is enough quality. If you have a pre-launch board Please check the sound again). However, suddenly, a digital digital transfer of Maromoney’s original analog master sound source was released by Internet archive “KRW_CO”. Although this has become a big topic among unofficial sound source fans in recent years, this public source is noticeable cut noise in the part damaged by the tape which was also in the already launched board as much as the freshness of the sound got better In addition, since the pitch was also high and what was not being processed, the sound quality was outstandingly good but lacked in fine as a quality. In this latest work, the latest work which restored the original appearance perfectly by applying fine meter pitch compensation and noise reduction for each part, as the world’s first 2CD press board which conveys that Maloney · Archives the original sound with the best form It is dignified appearance!

A serene, high-quality sound and sound coming out of the master original sound … …. From the start of “Breathe” you will be able to understand intuitively from the very beginning of the disc as a highly accurate sound outline and good omission. The performance sound itself is sharp and the entire sound image is transparent and well-organized, and the sound image of the already-known launched board which had been known up to now seems to have been subjected to equalization which gives a thickness to the midrange at some point of generation I also feel a sign of it. This is further understood “On the Run”, the cutting sound of a busy carved guitar, the decorative sound of the electric piano running around it are coming out with a good clarity so that it is not compatible one by one, You will see the vibrant vibrancy breathing. Also in “The Great Gig In The Sky” you can also see that the recitation monologue was recorded with a natural sound that is easier to hear, and the sound of the organ and solo that appears in the second half also spreads the sound more vividly, You should feel a strong upper feel by the master sound. “Money” enters the middle stage In addition to the sharp contours and graininess of the unique electric piano solo during this period, the guitar solo also has a high degree of precision that you can grasp to the delicate nuances of the touch, Balance is outstanding. “Us And Them” and “Any Color You Like” also saw that the original sound was a more liberal and open sound image, and until now we have been surprised to hear it with a sound far away from the master Let’s see. “Brain Damage” is 2 minutes 53 seconds, due to a tape change caused by the loss of sound (※ about 10 seconds), this is because the recording tape originally. Just because this is far too perfect sound, this is not the opportunity for us to feel the inevitable inevitability that exists on the original tape in reverse. However, the sound reveals even more gloss and power, ensuring that you will take a breath in silky smooth, textured yet unexperienced sound until the final song “Eclipse”.

Although the disk 2 is recorded from the tuning scene before the second half start by the example, it also knows that it was also caught up to the minute sound which could not be grasped by the already issued board. Especially the situation of checking the tone of the base is a necessity check as the difference of tone oozing is clear. “One Of These Days” also contains the natural natural loudness of the original sound in the low frequency range, and the contrast of the sound of Tam and the contrast of the occasional guitar treble is radiated further. The midfield scenes where the drums disappears are also excellent items of musical floating feeling. Since tuning strong enough for about 1 minute to enter after the end of the song can also be heard with the sound of the more accurate sound of the base harmonics, please check it. “Careful With That Ax, Eugene” should also be overwhelmed by the appearance of the gradually changing facial expression with a dynamic original sound waveform. After the end of the song, this also captures the tuning scene for about 4 minutes, but this also can be enjoyed without leaking a single sound with a transparent feeling of a different dimension from the already sound. “Echoes” also revived with a fantastic floating feeling and a transformation to musical flight with euphoric sounds like a phoenix that shakes off all the past editions of the past. The high-quality sounding drifting from the beginning and the trajectory of the tone color are moisture unique to the original sound inhabited in the scene, and it is a guarantee of trembling. In 14 minutes and 25 seconds, a missing sound due to a tape change only occurs for a moment, but here it is a scene that drifts of the albatross chirping late, so let’s say that there is almost no discomfort. About 4 minutes after the end of the song, the inside of the scene where the reverberation remains and the state of the tuning appear with the highest sound image. And “Blues” which can be said to be the biggest listening on the day is that recordings of Rohdi have begun to clean up equipment during the performance and the example of a strange landing in the Gilmore guitar solo performance which remained until the end is the vivid documentary · Appears in sound. Rare bass / solo scenes in the midst of the performance improves the elasticity of the tone color, and the notes that Rogerishashii hook works are drawing the best trajectory of the sound in the history of the sauce.

Natural power and sharpness of the original sound unique to the master sauce that is not a sound that is not genetically dropped, and is not a mash-up sound with equalization … If it expresses the sound character of this work it will be exhausted to it. Of course the pleasant feeling that the color of the tone color which was originally contained is unleashed vividly is of course pure, but the fundamental difference in the quality of the radiated sound is filled with the upper feeling of whether it is such a difference in hearing sense It is one work. Come this work together with the Boston performance of the next 73 years to be released at the same time “DEFINITIVE BOSTON 1973: JOE MALONEY MASTER (Sigma 199)” at the same time this weekend and call a storm that Maloney recorded originally I would like to get deeply into the power of the original sound and colorful rich crystal sounds!

” ピンク・フロイド × 稀代の名テーパー”。もうその組み合わせだけで非公式音源の魅力に迷い込んだ我々には胸躍る興奮が沸き立ちますが、ここにきて遂にあの音源に原録音のヴェールが剥がされました。世界屈指のフロイド専門レーベルSigmaの、カタログ番号100番台を締め括るに相応しい2作品の登場です!!

非公式音源に接していれば、いつか必ず耳にする名前です。熟練の聴き手の方には今更な話で恐縮ですが、彼は多岐に渡るロック・アーティストの1970年代のライブ音源を超高音質でモノにしていた伝説の米国人テーパーで、同時期に活躍していたマイク・ミラードやダン・ランピンスキと並ぶ非公式録音界の巨人です。ミラードが録音したものは” ミラード・テープ “、ランピンスキが録ったものは” ランピンスキ録音 “と親しみを込めて呼ばれていますが、マロニーが録った一連の録音は” ジョー・マロニー・アーカイヴス “と呼ばれるほど質の高い録音が多数揃っており、クイーン、ローリング・ストーンズ、ジェフ・ベック、レッド・ツェッペリン、デヴィッド・ボウイ等々、そのどれもが高品質・高音質なうえ、資料的価値が高い録音が多いのも特徴です。

そんな彼がピンク・フロイドの演奏をキャッチしたのは1970年代初頭の米国マサチューセッツ州・ボストン。マロニーが遺した録音はどのアーティストでもボストン公演が多めなのですが(※ 恐らく当時彼の住居や活動拠点が東海岸だった為だと思われます)、これが後に世界中の非公式音源ファンを驚愕させた72年と73年のボストン・ミュージックホールに於ける実況録音でした。特に72年のボストンはそれまで実録によるショウ全容が知られていなかった5月の第一次北米ツアー最終日だったため資料的価値も極めて高いものだった訳ですが、それが突然、マロニーの手による優れた録音で登場した衝撃は凄まじいものがありました。この模様は2005年にSireneレーベルから『BOSTON 1972 (Sirene-068)』で電撃リリースされたのを初めとして、Sigmaレーベルからも『CARNEGIE HALL 1972: STEREO MASTER (Sigma 145)』の2枚組ボーナスCDRとして再登場しています。

ただそれらのタイトル(※ 以降、” 既発盤 “とします)は確かに優れた録音ではあったものの、音盤化に使用したマスター音源は世代を重ねたものであり(※ 恐らく1st Genか2nd Genと思われます)、特に72年のボストンは音が全体的に若干くすんでいるというウィークポイントを持っていました(※ とは言えそれでも充分なクオリティです。もし既発盤をお持ちでしたらそのサウンドを再確認してみて下さい)。ところがここにきて突如、マロニーの大元アナログ・マスター音源を直接デジタル・トランスファーしたものがインターネット・アーカイヴ” KRW_CO “によって公開されたのです。先般これが非公式音源ファンの間で大きな話題となったのですが、ただこの公開ソースは音の鮮度がグッと良くなった分だけ既発盤にもあったテープダメージ部分もカット・ノイズが目立つという欠点があり、加えてピッチも高いまま何の処理されていなかった事から、音質は抜群に良いもののクオリティとしては精彩を欠いたものでした。これをその箇所ごとに細心のピッチ補整とノイズ軽減を施して元の姿を完璧に復元したものがこの最新作で、あのマロニー・アーカイヴス原音を最良の姿で伝える世界初の2CDプレス盤として堂々登場するのです!!

マスター原音に漲る静謐で質の高い音の鳴りと音の抜け具合い…。それは「Breathe」の立ち上がりから非常に精度の高い音の輪郭と抜けの良さとしてディスクスタート直後から直感的に理解出来るでしょう。演奏音そのものがシャープで音像全体が透明で整っており、これまで知られていた既発盤の音像は、世代を重ねたどの時点かで中音域に厚みを持たせるイコライズが施されていた様な気配も感じるのです。これが更に分かるのが「On the Run」で、忙しく刻まれるギターのカッティング音、その周囲で駆け巡るエレキピアノの装飾音が一つ一つ比べ物にならないほど粒立ちの良い明瞭さで出ており、かつ響き鮮やかに息衝いているのを目の当たりにするでしょう。「The Great Gig In The Sky」も原音では朗読モノローグがもっと聴こえ易い自然な音で録れていた事も分かりますし、後半で登場するオルガン・ソロの響きも音の拡散がより生々しく広がるので、マスターサウンドによる強いアッパー感を感じる筈です。「Money」は中盤に入るこの時期特有のエレキピアノのソロが鋭い輪郭と粒立ちで出ているほか、ギター・ソロもタッチの繊細なニュアンスまで掴み取れる精度の高さを持ち、各楽器音のバランスも抜群です。「Us And Them」と「Any Colour You Like」も原音はもっと伸びのある開放的な音像であった事が分かり、これまで私達はマスターから随分掛け離れたサウンドで聴いていた事にも驚かされるでしょう。「Brain Damage」は2分53秒でテープチェンジによる音の欠落(※ 約10秒間程度)が生じていますが、これは収録テープが元来こうなっている為です。ただここまでがあまりにも完璧なサウンドのため、ここは逆にオリジナルテープに存在する避け様の無い生々しさを感じ取って戴けるのではないでしょうか。しかしそのサウンドはより一層の艶と威力を顕わにし、終曲「Eclipse」に至るまでシルクのように滑らかで、質感豊かな未体験サウンドに息を呑むこと請け合いです。

ディスク2は例によって後半開始前のチューニング・シーンから収録していますが、これも既発盤では掴み取れなかった微細な響きまでキャッチしていた事が分かります。特にベースのトーン確認の様子は音色の滲み出しの違いが歴然ですので要チェックでしょう。「One Of These Days」も原音本来の自然なラウドさが低音域に宿っており、タムの響きと時折り入るギター高音のコントラストが更に眩しく放射されます。ドラムが気配を消す中盤シーンも音楽的な浮遊感の際立ちが絶品です。終曲後に入る約1分間強のチューニングもベースのハーモニクスの響きがより精度の高い音で聴こえていますので是非チェックしてみて下さい。「Careful With That Axe, Eugene」も徐々に変容する音の表情がダイナミックな原音波形で出てきて圧倒される筈です。終曲後はここも約4分間に渡るチューニング・シーンを捉えていますが、これも既発サウンドとは別次元の透明感で一音漏らさず堪能出来るのです。「Echoes」もその幻想的な浮遊感と音楽的飛翔への変貌が、過去全ての既発盤を振り払う不死鳥の如き陶酔音で甦りました。出だしから漂う上質な響きと音色の軌跡は現場で吸い込んだ原音ならではの潤いで、身震いすること請け合いです。14分25秒でテープチェンジによる音の欠落が一瞬だけ生じているのですが、ここはアホウドリ鳴き声終盤の浮遊感漂うシーンですので違和感はほぼ皆無と言っておきましょう。終曲後も約4分間ほど、余韻残りまくる場内とチューニングの様子が過去最高の音像で登場します。そしてこの日最大の聴きどころと言える「Blues」は、演奏中にローディが機材の片付けを始めてしまい、最後まで残ったギルモアのギター独演で奇妙な着地をする例の様子が過去最高に生々しいドキュメンタリー・サウンドで登場します。演奏中盤にある珍しいベース・ソロ的なシーンも音色の弾力感が向上し、ロジャーらしいフックの効いたノートがソース史上最高に粒立ちの良い音の軌跡を描いてゆくのです。

ジェネ落ちした音ではない、そしてイコライズでマッシュアップしたサウンドでもない、マスターソースならではの原音の自然な威力と鋭さ…本作のサウンド・キャラクターを言い表すならそれに尽きるでしょう。元々封じ込められていた音色の色彩が鮮やかに解き放たれる快感は勿論ですが、放射される音の質が根本的に違う事が聴感上でこれほどの差を生むものなのかというアッパー感で満ちた一作となっています。是非今週末は本作を、同時リリースされる翌73年のボストン公演『DEFINITIVE BOSTON 1973: JOE MALONEY MASTER (Sigma 199)』と併せてその手に取り、マロニー録音が本来宿していた嵐を呼ぶ原音の威力と、吹き荒れる色彩豊かなクリスタル・サウンドに心酔して戴きたいと思います!!

Disc 1(48:53)
The Dark Side Of The Moon

1. Speak To Me 2. Breathe 3. On the Run 4. Time 5. Breath(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 2(67:32)
1. Tune Up 2. One Of These Days 3. Careful With That Axe, Eugene 4. Echoes 5. Blues

Sigma 198

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