Pink Floyd / Definitive Brussels 1972 / 2CD+1Bonus CDR

Pink Floyd / Definitive Brussels 1972 / 2CD+1Bonus CDR / Sigma

Translated text:
Live at Forest National, Brussels, Belgium 5th December 1972  plus Bonus CDR “BRUSSELS 1972: Radio Broadcast”

 

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★ The following is a commentary on “BRUSSELS AFFAIR” released in 2014.

Although it is a European tour of the winter of 1972 winter boasting one of the most fulfilling lives of numerous Floyd live performances, there was a title “BRUSSELS AFFAIR (Sigma 66)” that was highly evaluated by fans and specialized magazines as its decided version. When it first appears from this Sigma label in May 2011, it became a big topic coupled with the rarity of sound source including “Childhood’s End” and its good sound quality, and it was a title sold out instantaneously. This week, the legendary masterpiece title will be revived with further improvement of sound quality!

This master tape was recorded using UHER’s “Released Stereo” open reel deck and AKG microphone, originally sound quality was very excellent. Although the old board “BRUSSELS AFFAIR” mentioned above was intended to improve the sound quality by adjusting its recorded sounds, it turned out that there was a sense of equalization that was created somewhat in retrospect. The new work of this time is characterized by having no it, becoming the original natural sound close to the actual performance sound. Especially the material that changed greatly is the treble of the treble, the sound emission direction of the vocal which was distracted and the texture of the drum are dramatically improved. Especially the snare is revived vividly with the original tone, and even this alone should be able to hear the whole impression quite differently. And above all, in the old board, the sound of the cymbal which was appearing with excessive sound pressure in almost all the trucks is recovering the pinpointed moderate sound, which is also a very big topic. In other words, it is a translation that you can listen to this name performance with a realistic tone that is much closer to the real sound of the day than the old one, that is, it is a “natural sound quality version” of Brussels 72 sold out instantaneously in great popularity if it says It is!

For example, in “Speak To Me”, the difference between the vividness of the audience’s voice and the texture of the introduction part performance sound has already been made clear immediately after pushing the play button, but this is confident at the first note of “Breathe”. The unnatural thickness which raised the sound pressure to the rising sound disappears, and the raw sound of the instrument rises to a bone with the strength of the core which originally has. It is also noteworthy that with the effect of this sound pressure elimination the motion of the whole sound image which has been somewhat blurred in the old board regains vividness and the sound of each instruments can be tracked firmly from the beginning. In the characteristic scene (* 1 minute 00 second ~) in which the sequencer runs out of control and continues to emit sound like a warning sound, the appearance of the sound and the outline of the tone color accompany the sharpness without turbidity over the old one You can hear it, even after entering the singing part, the sound of the cymbal that is ringing behind is the one that was spreading flat over the whole sound image in the old board, but in this work it is pinpointed and humming in the discreetly I think that you understand. Also on “On The Run” you will feel more prospects for undisciplined sounds and improved resolution. Originally this song is a quiet state where the musical instruments are going to play a dialogue with motility in the place where silence dominates, so that element that was diluted in the old board (= cymbal metal excessively ringing in the center The appearance that the sound was muddying the outline of the whole sound) was corrected, and the charm of music easy goes straight toward here.

“Time” also stands out between the old and new sound image difference. For example, while the sound of the alarm clock bell or bell at the beginning was ringing with a somewhat rounded dull sound, you will notice that this work is sharp and lively sound. Since the pitch was also modified more precisely, I think that the height of the sound is also slightly different from the old one (* slightly higher in this work = more accurately adjusted). By the way, in the performance of this day, because Rick mistakenly sang the lyrics sung in the part before the last song in the first part (around 2 minutes 18 seconds ~), the band was caught by it and “Breathe (Reprise) Although it seems to be going to go to guitar solo while it is about to go on, the guitar, bass and drums in this guitar solo part (around 2 minutes 50 seconds ~) are also natural sounds that could not be tasted in the old board It also spells the bulge of this, which also makes a contrast of superb sound that matches a sound image with transparency. In ‘The Great Gig In The Sky’, the depiction of the spatiality which skillfully used the condensation feeling of the first half and the sound of the piano from the middle stage has revived vividly with the sound which was restrained. In this scene, the sound of the old boost was also attractive, but this work is probably closer to the original sounding of the music intended by the band.

“Money” I would like to draw attention to the point where the spread and transparency of the sound comes out. The biggest difference was the scene where the cymbals scratched off with the sound which the cymbals are too strong with the shariari and the melody that the guitar sings on the old board where the guitar starts singing in the middle part around 2 minutes 59 seconds also was scattered . But in this work it is completely revived as a sound image that will keep track of the finger use of Dave no longer at all. As the guitar cries at high pitches and the reverberation elongation and the balance of the vocals and backs from returning to the song will jump out with a vivid sound released from the equality spell, if you have an old board, I would like to confirm the difference by all means. “Any Colour You Like” tells Dave’s scat fulfilling expression power with elegance that is more than the old one, but this song is also a point that the hammering sound of the snare regains the original sound of the instrument is. Especially in the scenes that increase motility for more than one and a half minutes in the latter half (around 4: 07 sec – 5: 46 sec), each one has a distinctive feeling and naturalness of tone color, this also It will be the part where the superiority of this work is felt. As for “Eclipse”, the deterioration of the right channel (* however, the sound has come out) that occurs for about 1 minute 18 seconds to about 22 seconds remains in this work as well as in the old record, but the sound output There is no noticeable impression as much as the old plate because the person is natural.

In Disc – 2, the sound of the base which comes out at the beginning of “One Of These Days” is lost excessive loudness, and the song moves while emitting the dull and heavy sound originally of the instrument. Perhaps there may be people who like the sound of the old board’s guitar as a base sound in this song, but if those who are instruments are concurrently convinced with the sound of a straight base I think that there are not a few who remember a sense of security. From the vicinity of 3 minutes and 20 seconds, conspicuous movements of the base unit comes out, but this is also a sound image which more vividly conveys the appearance of swaying the mysterious mind by the disappearance of Ikora feeling, and at the same time You will also notice the increased transparency behind the bass sound. It is also important to see the guitar tightly stretched out in the end of the song. “Eugene” is the advantage that the transparency of the sound rises steadily is Advantage. I think that this difference is very large because it is a song that places importance on silence and reverberation, and the original aim of the music is also a sound image that can be grasped well. On this day as part of this period the part like Roger’s reading of poetry is developed in front of the Scream, but the sound of its muttering · whispers also has a distinct feeling over the old one, and after the screaming the song It will be played accompanied by a bold sound and a tense feeling of bursting, so you can enjoy the deep afterglow after the end.

“Echoes” first of all, please pay attention to the sharp, clear and rising sound image of the vocal line at the beginning of the singing “♪ Overhead the albatross …”. The fine clarity of the duet is outstanding. In the old board, the influence of equalization slightly appeared to the whole vocal including this beginning part, although it was recorded with the sound that a thin thin veil was hanging, this time it is also resolved this time. The movement of the sound just before the deployment part rushing in the vicinity of 7 minutes and 32 seconds is also too strong for the old board which the cymbal hammering sound which was too much a crowbar was disturbing, this work is surprisingly easy to hear high resolution I realized the sound, and this difference should be amazed by the difference. Also, the sound of the snare violently violent everywhere before the end of the song is greatly improved, and the point which is ringing with the original sound of the instrument is also noteworthy point. And the premiere at the French performance on December 1st and the rare song ‘Childhood’s End’ which was played only a few times until the Zurich show on 9th was also breathtaking with more fresh sounds this time I will. The big difference came from the sound of the guitar, especially in the guitar solo which starts around 6 minutes 52 seconds in the latter half. In the old board, a metallic guitar sound that kinkens like the cymbal was shaking sharply at the center of the sound image, but by correcting this it is the reason why the original guitar “tone of expressive crying” is recovered I think that it will be noteworthy. Likewise, the cymbal shot after the solo was revived with a fresh sound that was overly present, and you can see that the treble section which was excessive has been greatly improved.

Speaking of what it means to reissue a title that had originally excellent sound quality, this is what I hope to deliver the fascinating performance sound that Floyd spelled on this day more accurately to fans Because there was a thought. As a matter of fact, if you raise the sound pressure and make it a sound with a strong attack, it will be “easy to understand sound”, so there are cases in which the listener sees such a sound as “good sound” Is not only a boot leg but also a recent example of a regular board remaster. However, the more open the sound image created and the sound recorded in the master, the more it is not to convey the music as the original correct tone instead of delivering the music with an easy-to-understand sound. If the sound of the master is too bad it will require remastering to make it easier to understand, but if you do it too much you will lose the essence of the sound. Of course, even when releasing the old board “BRUSSELS AFFAIR (Sigma 66)” it does not work like bending the essence (* correctly correct all the pitch which was low near the semitone, mainly in the latter half of the show, It was about the extent that the confirmed noise was carefully removed), but it is also true that the equalizing of the performance sound “to communicate more clearly” was a moderately given title. But this time, I aimed for this work is the latest remaster of the performance of this day “to convey more correctly”. In other words, it is important to carefully review the performance sound, to avoid creation by equalizing, to try to achieve the best sound image correction and strict pitch correction so as to focus on attracting the charm that the performance of the day underlies strongly is.

But the work of improving sound quality and sound image improvement is not limited to this work, and the same can be said for other titles. To tell us why we specifically emphasized it in this work is because the band called Floyd was a rare group pursuing the possibilities of music with the characteristics of the sound reverberated. In other words, in the case of Floyd, unlike ordinary rock sounds, rather than trying to get the result by boosting the entire recorded original sounds, those who care about the original sound and place an emphasis on the task of retrospecting the essence of the sound As a result, it is aimed at maximizing the characteristics of Floyd’s songs and the charm of the performance. I wished to tell you how much difference between the songs of such Floyd’s songs and the charm of the performance’s underlying sound is the old and new title in the sentence, If you listen to the work you will be convinced that the attempt was a great success. Please expect this weekend for the performance in Brussels this newly reborn 72 years. It is a self-confident work that I could reach because it is a Sigma label specialized in Floyd!

★ Includes the Brussels performance on December 5, 1972 with super high quality audience recording. Sigma label has also been released twice in the past with the title “Brussels Affair”, each of which records SOLD OUT in a short time with its overwhelming quality and content. The masterpiece title of that legend is now re – release decision at the renewal board of newly built jacket.

★下記は2014年リリースの「BRUSSELS AFFAIR」の解説です。

数あるフロイドのライブでも屈指の充実度を誇る1972年冬の欧州ツアーですが、かつてその決定版としてファンや専門誌から高評価を得た『BRUSSELS AFFAIR (Sigma 66)』というタイトルがありました。2011年5月に当Sigmaレーベルから初登場するや、そのあまりの音質の良さと「Childhood’s End」を含んだ音源という珍しさも相まって大きな話題となり、瞬時に完売したタイトルでした。今週はなんと、その伝説の傑作タイトルが更なる音質改善を施されて復活致します!

このマスターテープはUHER製の”Report Stereo”というオープンリールデッキとAKGのマイクロフォンを使用して録音されたもので、元々音質は非常に優れておりました。前記の旧盤『BRUSSELS AFFAIR』はその収録音を調整して音質向上を図ったものでしたが、今振り返るとやや創り込まれたイコライズ感があったのも事実でした。今回の新作はそれが無く、実際の演奏音に近い本来の自然なサウンドとなっているのが特徴です。特に大きく変わったのが高音の質感で、散漫だったボーカルの出音方向とドラムの質感が飛躍的に改善されています。中でもスネアは本来の音色で鮮やかに蘇っており、これだけでも全体の印象が随分違って聴こえる筈です。そして何よりも旧盤ではほぼ全てのトラックで音圧過剰気味に出ていたシンバルの響きがピンポイントで節度ある響きを取り戻していて、これも非常に大きなトピックスとなっています。つまり旧盤よりも当日の実際の音色と響きにずっと近いリアルな音色でこの名演奏が聴ける訳で、言うなれば大好評のうちに瞬時完売したブリュッセル72の”ナチュラル音質版”となっているのです!

例えば「Speak To Me」では再生ボタンを押した直後から観客の声の生々しさや導入部演奏音の質感の違いが既に判然としていますが、これが「Breathe」1音目で確信に変わります。立ち上がる音色に音圧を上げた不自然な厚みが消え、楽器の生音が元来持っている芯の力強さで骨太に立ち上がるのです。この音圧解消の効果により旧盤ではやや滲んでいた音像全体の動きが鮮明さを取り戻し、冒頭から各楽器の音がしっかり追える様になっているのも特筆されます。シーケンサーが暴走して警告音の様な音を発し続ける特徴的なシーン(※1分00秒~)では、その音が回り込む様子や音色の輪郭が旧盤以上に濁りの無い鮮明さを伴って聴こえますし、歌唱部分に入ってからも後ろで鳴っているシンバルの響きが旧盤では音像全体に平べったく拡散していたものが、本作ではピンポイントで控え目に鳴っているのがお分かり戴けると思います。また「On The Run」では雑味の無い音の見通しと解像度の向上が更に御実感戴けるでしょう。そもそもこの曲は静寂が支配する場に各楽器が運動性を伴った対話を重ねてゆく様子がキモなのですから、旧盤で希薄だったその要素(=中央で過剰なほど鳴っていたシンバルの金属音がサウンド全体の輪郭を濁らせていた様子)が正された事で、楽曲本楽の魅力が真っ直ぐこちらへ向かってくるのです。

「Time」も新旧の音像差が際立ちます。例えば冒頭の目覚ましベルや鐘の音がこれまではやや角の取れた鈍い音で鳴っていたのに対し、本作ではシャープで軽快な音で鳴っている事に気付かれるでしょう。ピッチもより厳密に修正されたので、音の高さも旧盤とは若干違っている(※本作の方がやや高い=より正確にアジャストしてます)のも御確認戴けると思います。ところでこの日の演奏では、本来終曲手前のパートで歌われる歌詞をリックが間違って最初のパートで歌ってしまったため(※2分18秒付近~)、バンドがそれに釣られて「Breathe(Reprise)」に行きそうになりながらもギターソロに入ってゆく様子が確認出来ますが、このギターソロの部分(※2分50秒付近~)でのギター、ベース、ドラムも旧盤では味わえなかった自然な音の膨らみを綴っており、これも透明感のある音像と相まった見事な音色の対比を成しています。「The Great Gig In The Sky」では前半の凝縮感と中盤からのピアノの響きを巧みに使った空間性の描写が、抑制の効いたサウンドで鮮やかに蘇っています。このシーンは旧盤のブーストが効いた音も魅力的でしたが、バンドが意図した楽曲本来の響きとしては恐らく本作の方が近い筈です。

「Money」はサウンドの広がりと透明感が出ている点に御注目戴きたいと思います。一番の違いはギターが歌い始める中間部2分59秒付近からの展開で、ここも旧盤ではギターが歌う旋律をシンバルがシャリシャリと強過ぎる出音で掻き消してしまうシーンが散見されました。でも本作ではそれが一切無くなり、デイヴの指使いがしっかり追える音像として生まれ変わっています。ギターが高音で泣く響きの伸びや、歌に戻ってからのボーカルとバックの出音バランスもイコライズの呪縛から解かれた生々しいサウンドで飛び出してきますので、旧盤をお持ちの方は音像の違いを是非お確かめ戴きたいと思います。「Any Colour You Like」では表現力に充ちたデイヴのスキャットが旧盤以上の瑞々しさで耳をくすぐってきますが、この曲はスネアの打音が楽器本来の音を取り戻している点もトピックスです。特に後半で1分半以上にも渡って運動性を増すシーン(4分07秒付近~5分46秒付近)ではその一音ずつに明瞭感と音色の自然さが備わっており、これもまた本作の優位性が感じられる部分でしょう。「Eclipse」は、1分18秒付近~22秒程度に掛けて一瞬発生する右チャンネルの劣化(※但し、音は出ています)が旧盤同様に本作でも残っていますが、音の出方が自然なので旧盤ほど目立った印象はありません。

Disc-2では、まず「One Of These Days」の冒頭で出て来るベースのあの音に過剰なラウドさが無くなり、楽器本来の鈍くて重たい響きを発しながら曲が動いてゆきます。この曲でのベース・サウンドはひょっとすると旧盤のゴリゴリした響きの方が好みだという方も居られるかもしれませんが、しかし同時に楽器をやられている方ならばストレートなベースの音色に納得と安心感を覚える方も少なからず居らっしゃると思います。3分20秒付近からはそのベース単体の目立つ動きが出てきますが、これもイコラ感が消えたことで曲想を妖しく揺らしてゆく様子が一層生々しく伝わってくる音像となっており、同時にそのベース音背後の透明感が増している点にもお気付きになるでしょう。曲終盤でギターが厳しく張り詰めた響きを出す様子も必聴です。「ユージン」はサウンドの透明感ががグッと上がっている点がアドヴァンテージでしょう。静寂と響きを重視する曲だからこそこの差は非常に大きいと思いますし、楽曲本来の狙いもよく掴める音像になっています。この日はこの時期の特徴としてロジャーによる詩の朗読の様なパートがスクリームの前で展開されますが、その呟き・囁きの言葉の出音も旧盤以上に明瞭感がありますし、スクリーミング後に楽曲が動いてゆく様子も大胆な響きと炸裂する緊張感を伴って再生されますので、終曲後の深い余韻もお楽しみ戴ける筈です。

「Echoes」はまず、歌唱冒頭「♪Overhead the albatross…」部分でのボーカルラインの艶やかでくっきり鮮明な立ち上がりの音像に御注目下さい。デュエットの微細な明瞭さも抜群です。旧盤ではこの冒頭部分も含めボーカル全体にイコライズの影響が若干出ており、一枚薄いヴェールが掛かった音で記録されていましたが今回はそれも解消されているのです。7分32秒付近から突入する展開部直前の音の動きも、せっかくの勢いあるサウンドを強過ぎるシンバルの打音が邪魔していた旧盤に対し、本作は驚くほど聴き易い高解像の音を実現しており、ここはその差に驚嘆される筈です。また終曲手前の随所で激しく暴れるスネアの響きも大幅に改善され、楽器本来の音で鳴っている点も注目ポイントです。そして12月1日のフランス公演で初演され、9日のチューリッヒ公演までの間に僅か数回しか演奏されなかった幻のレア曲「Childhood’s End」も、今回は更にフレッシュな音で息を吹き返しています。大きく差が出たのはギターの響きで、特に後半6分52秒付近から始まるギターソロに顕著です。旧盤ではシンバル同様にキンキンする金属質なギター音が音像中央でけたたましく鳴っていましたが、これを補正した事で本作ではギター本来の”表情豊かな泣きの音色”を取り戻しているのは特筆されると思います。同様にソロ後のシンバル・ショットも過剰に出ていた響きが瑞々しい音色で蘇っており、どちらも過剰だった高音部が大きく改善されているのがお分かり戴けるでしょう。

元々音質が優れていたタイトルを今回改めて出し直す事にどういった意味合いがあるのかと言えば、それはひとえにこの日のフロイドが綴った魅力溢れる演奏音をより正確にファンの方にお届けしたいという思いがあったからです。実のところ、音圧を上げてアタックの強いサウンドにした方がメリハリが出るぶん”分かり易いサウンド”となるので、リスナーにはそうしたサウンドが”良い音”と捉えられてしまうケースがあり、これはブートレッグに限らず昨今の正規盤リマスターでも多々ある事例です。しかし創り込んだ音像とマスターに記録された音に開きがあればあるほど、それは音楽を分かり易い音で届ける代わりに本来の正しい音色としては伝えていないという事になります。マスターの音があまりに酷ければ分かり易くするためのリマスター作業も必要ですが、でも過剰にそれをすると音の本質が失われかねません。勿論、旧盤『BRUSSELS AFFAIR (Sigma 66)』のリリース時にも本質を曲げる様な作業はしていませんが(※ショウ後半を中心に半音近く低かったピッチを全て正確に補正し、数箇所で確認されたノイズを丁寧に除去した程度でした)、しかし演奏音を”より分かり易く伝える為”のイコライジングは適度に施したタイトルだった事もまた事実です。しかし今回本作で目指したのはこの日の演奏を”より正しく伝えるため”の最新リマスターです。それは即ち、演奏音を丁寧に見直し、イコライジングによる創り込みを避け、最良の音像補正と厳密なピッチ修正を試みる事でその日の演奏が根底に持っている魅力を力強く引き出す事を主眼に置くという作業です。

でもそうした音質向上・音像改善の作業は本作に限らず、他のタイトルにも同じ事が言えます。それを何故本作で殊更強調したかと言えば、それはひとえにフロイドというバンドが響きの特性を借りて音楽の可能性を追求した稀有な集団だったからです。つまりフロイドの場合は通常のロック・サウンドとは違い、収録された原音全体をブーストして結果を得ようとするよりも、原音を精査して響きの本質そのものを見詰め直す作業に重きを置く方が、結果としてフロイドの楽曲の特性や演奏の魅力を最大限に引き出せるだろうという狙いです。文中で新旧の音質の違いについて延々と書いてきたのも、そんなフロイドの楽曲と演奏が根底に持つ響きの魅力の差が新旧タイトルでどれだけあるのかをお伝えしたかったが故の事ですし、本作を聴いて戴ければその試みが大成功だったと御納得して戴けるでしょう。今週末は是非、この新しく蘇った72年ブリュッセル公演に御期待下さい。フロイド専門のSigmaレーベルだからこそ到達出来た自信作です!

★1972年12月5日のブリュッセル公演を超高音質オーディエンス録音で収録。Sigmaレーベルでも過去に「Brussels Affair」というタイトルで2度リリースされ、その圧倒的な品質と内容にそれぞれが短期間でSOLD OUTを記録しています。その伝説の傑作タイトルが、このたび、新装ジャケのリニューアル盤にて再リリース決定です。

Disc 1(47:29)
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 2(50:34)
1. One Of These Days 2. Careful With That Axe, Eugene 3. Echoes
4. Childhood’s End

Sigma 197

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Pink Floyd / Brussels 1972 Radio Broadcast / 1Single CDR / Non Label

Translated Text:
Live at Vorst National, Brussels, Belgium 5th December 1972 (FM BROADCAST) & Belgian Radio1 FM Rebroadcast 31st October 2005

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This sound source contains the Brussels performances rebroadcast at the FM radio station in Belgium in 2005, and what is recorded here is audience recording, not line recording. Of course, it is a different source from the press recording, and it sounds like a stereo for the time being, but it is a good sound source close to a monaural which does not almost separate. Even so, it is surprising to say that the audience recording was broadcast on the public radio. In the past Floyd also has the latest release of Montreux 1971, as well as the performance of March 6, 1972, which became a topic that appeared several years ago. There are few songs in this song, about 3 songs and about 17 minutes, which is also subject to interviews and DJs, but there is no difference in being a separate source of precious Brussels performances. In the performance of TIME of this day, he suddenly sang the lyrics of the end part of the same song at the beginning where Rick Wright got vocal in the beginning, and then caught by it, the whole performance plunged into the next Breathe (reprise) as it is Although it becomes so, Gilmore forcibly brings it to guitar solo and there is a hyper hiya development saying that he can hold the performance somehow, but here as well, that performance is recorded as it is, this is definitely a Brussels performance It is also evidence. But why dare choose a take that is a real mistake and broadcast it as it is is a mystery place. Although it does not go to the press main body with the closeness of sound · powerfully in sound quality, it is still a good excellent freshness sound pretty surely, if it exists it is definitely a sound source you want to listen to in the full length version. ★ This is also a re-release decision by newly built Jake.

本音源は2005年にベルギーのFMラジオ局にて再放送されたブリュッセル公演を収録しており、なんとここに収録されているのはライン録音ではなくオーディエンス録音なのです。プレス盤収録の音源とはもちろん別ソースで、音質的には一応はステレオのようですが、分離は殆どしていないモノラルに近い良好音源です。それにしてもオーディエンス録音が公共のラジオで放送されたと言うのは驚きです。過去にもフロイドではこの類いのものとしては最新リリースのモントルー1971、また数年前に出現して話題となった東京1972年3月6日公演などがあります。今回の収録曲は3曲・17分ほどとと少なめで、インタビューやDJも被るものではありますが、貴重なブリュッセル公演の別音源であることには違いはありません。この日のTIMEの演奏では、序盤にリックライトがボーカルをとる箇所で彼はいきなり同曲終盤パートの歌詞を歌ってしまい、それに釣られて全体の演奏もそのまま次のBreathe (reprise)になだれ込みそうになりながらも、ギルモアが強引にギターソロに持って行き、なんとか演奏は持ちこたえると言うヒヤヒヤな展開がありますが、ここでもその演奏がそのまま収録されており、これが間違いなくブリュッセル公演であることの証拠でもあるわけです。しかしなぜ実質演奏ミスであるテイクを敢えて選び、しかもそのまま放送したのか謎なところではあります。音質的には音の近さ・迫力でプレス本体には及びませんが、それでも十分に良好な鮮度抜群のサウンドなのは間違いなく、存在するのであれば是非全長版で聞いてみたい音源です。★こちらも、新装ジャケにて再リリース決定です。

(17:09)
1. Radio DJ / Time 2. Breathe (reprise) 3. Interview / Careful With That Axe, Eugene

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