Queen / Complete Kobe 1975 Uncirculated Master / 2CD

Queen / Complete Kobe 1975 Uncirculated Master / 2CD / Wardour
Live at the International Hall, Kobe, Japan 23rd April 1975

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This is an incident! The legendary QUEEN’s first visit to Japan has uncovered a new original master cassette. It is an emergency permanent preservation press decision!
”Recorded on the board is“ April 23, 1975: Kobe International House ”. It is the best audience recording. It is an incident just because it is the first appearance after 44 years, but the impact of this work is far from that. It was the ultimate master that surpassed the existing group in terms of both quality and recording time! ) In order to explain the contents, it is necessary to organize the existing ones. First, let’s check the position of the show on the first visit to Japan.

・ April 19: Nippon Budokan
・ 22 April “NAGOYA 1975”
・ April 23: Kobe International House ← ★ This work ★
・ April 25: Fukuoka City Kyuden Memorial Gymnasium
・ April 28 “FATAL ATTRACTION (Okayama)”
・ 29th April “TSUMAGOI 1975”
・ April 30: Yokohama Culture Gymnasium
・ May 1 “AN EXCEPTIONAL LEGACY”
* Only representative works for each performance.

Above, all 8 performances. It started from Budokan in about 2 weeks and went back to Budokan, but the Kobe performance of this work was the first concert of the third performance. This day is also known as the day when there are many recordings even in the first visit to Japan, and has been introduced in our many masterpieces. Let’s organize this too.

・ Recording A: Bonus CDR “LIVE IN KOBE”
・ Recording B: “DEFINITIVE KOBE 1975 (Wardour-311)”
・ Recording C: “KOBE 1975: ALTERNATE MASTER (Wardour-338)”
・ Recording D: [This work]

… and it looks like this. This is the fourth complete diff from the previous three. Each master is a masterpiece, but the individuality is different. “A” was caused by a traditional analog board, “B” was one piece with high sound quality but lacked the final stage, “C” was not as good as B, but the show’s panoramic recording was an advantage. However, the new excavation “D” has a different dimension. Although it is an original only for this work, this one has surpassed all the conventional ones. It is more natural than “A” and the sound transcends “B” and is longer than “C”.
First of all, sound. The breathtaking sound world that makes even “B”, the highest peak so far, out of the question stops. The audience is enthusiastic as if it were an audience, but the details of the details are detailed if the powerful core tears straight and the response is generous. In fact, the basic personality is similar to “B”, but the naturalness and stability of this work are higher. Only the original master has no dubbing and the freshness is ultimate and there is no shaking or distortion. In “B”, there is no chatter that was sometimes felt, and there is no swaying of glossiness that cannot be thought of as a 1975 vintage recording. Originally, re-mastering that maximizes the master’s potential even in new excavations was performed, but the new master “D” did not even need it. It was a non-remaster that just checked the pitch and exceeded the polished sound of “DEFINITIVE KOBE 1975”.
¡The impact that is equal to or greater than the sound is the length of the longest update. Before the performance and waiting for encore, the biggest topic is “See What A Fool I’ve Been” at the end. Until now, “A” and “B” were not recorded completely, and even the long “C” had a large recording leak in the first half. The precious performance that no one has ever heard can be heard in its entirety. Of course, there were cuts such as tape changes because it was a cassette recording in the 70s, but it was also a member introduction scene of about 12 seconds, so I did not cut the performance (this scene is supplemented with “DEFINITIVE KOBE 1975”) (Since the personality may be similar, the finish is so natural that you do not know where it is connected.) Strictly speaking, although there is a recording omission to save the tape waiting for the second encore, the part that was hardly recorded by the master in the first place. This work has been recorded for more than 3 minutes alone.

The contents of the show… you no longer need to repeat the number of characters. If you can keep an eye on this work, you already know the group. Enthusiasm that fist hurts in that “DEFINITIVE KOBE 1975”, highlights dipped in “KOBE 1975: ALTERNATE MASTER”, and a spectacle only for the first visit to Japan. All of them can be seamlessly experienced with higher quality sound.
“I think that many people were delusioned that“ DEFINITIVE KOBE 1975 would be the full version… ”. This work grants that delusion … No, it is an unexpected masterpiece that jumps over. Experience this new excavation of this century, with a permanent preservation press 2CD!

・ A new sound source for the ‘1975 Kobe performance that was featured. Digitalized directly from the original master cassette.
Based on a new sound source that is the top level and the longest recording sound source among the related sound sources of this Kobe performance, the missing part
Realize the longest recording by filling up the possible parts. There are several cuts between songs, but the performance part is completely recorded.

・ Sound source arrangement
・ Source 1 … Analog LP board
・ Source 2… Dressed To Kill (1CD) [Wardour-033] or Definitive Kobe 1975 (1CD) [Wardour-311] ・ Source 3 ・ ・ ・ Kobe 1975 Alternate Master (2CD) [Wardour-338] ・ Source 4 … This board / sound is the top level and longest recorded sound source among the related sound sources of this performance.

・ Sound quality is a dango-like mono Aud, but surprisingly it is very natural from the high range to the low range. Previously “Dressd To Kill” (1CD) [Wardour-033] or remastered version of the same sound source Definitive Kobe 1975 “(1CD) [W-311] is a bit more awkward, there are some parts that are better than this board, and there are places where the existing ones seem to be better (whether the vocals are already on?) However, the stability is definitely better than the previous ones. This time it is the first appearance, so the emphasis is on the original sound and there is almost no ikora.

The recording time is considerably longer than the previous ones, the longest ever. There is also a performance part that will appear for the first time in this record (the final version of See What A Fool I’ve Been is the first completed version recording), waiting for introduction and encore waiting before the live start The part is also longer than the previous one.
W-033 and W-311 are unpaid at the end and this is longer for about 30 minutes. This is about 5 minutes longer than the source 3 W-338. Total 106 minutes after replenishment About recording.
The second encore waiting part is recorded about 3 minutes longer than the previous one (although there was almost no previous one)
On the other hand, there is a slight bruise, and there is a cut of about 12 seconds at the place where members are introduced.
This time this time is compensated with the already dressed To Kill sound source. The compensation points are almost indistinguishable.
In addition, there are 3 cuts in the second waiting for encore, but since the encore waiting part itself is almost unrecorded in the already issued board, there is no way to make up for it this time.

これは事件！　伝説のQUEEN初来日から全世界初登場のオリジナル・マスターカセットが新発掘。緊急永久保存プレス化決定です!!
本盤に記録されているのは「1975年４月23日：神戸国際会館」。その極上オーディエンス録音です。44年を経た初登場というだけで事件なのですが、本作の衝撃はそれどころではない。クオリティ／収録時間の両面で既発群を凌駕する究極のマスターだったのです！　その内容をご説明するためには、既発の整理もしなくてはならない。まずは、初来日の日程でショウのポジションを確かめてみましょう。

・４月19日：日本武道館
・４月22日『NAGOYA 1975』
・４月23日：神戸国際会館　←★本作★
・４月25日：福岡市九電記念体育館
・４月28日『FATAL ATTRACTION（岡山）』
・４月29日『TSUMAGOI 1975』
・４月30日：横浜文化体育館
・５月１日『AN EXCEPTIONAL LEGACY（日本武道館）』
※各公演とも代表作のみ。

以上、全８公演。約２週間で武道館に始まり、武道館に帰る構成でしたが、本作の神戸公演は３公演目という序盤のコンサートでした。この日は初来日でも録音の多い日としても知られ、当店でも幾多の名作で紹介して参りました。これも整理しておきましょう。

・録音Ａ：ボーナスCDR『LIVE IN KOBE』
・録音Ｂ：『DEFINITIVE KOBE 1975（Wardour-311）』
・録音Ｃ：『KOBE 1975: ALTERNATE MASTER（Wardour-338）』
・録音Ｄ：【本作】

……と、このようになっています。本作は従来３本とは完全ディフの４本目なのです。従来マスターはそれぞれ傑作ですが、個性は異なる。「Ａ」は伝統アナログ盤の起こし、「Ｂ」は高音質ながら終盤の欠けた１枚物、「Ｃ」はＢほどのサウンドではないものの、ショウの全景録音が強み……といった一長一短でした。しかし、新発掘の本作「Ｄ」は次元が違う。本作だけのオリジナルなのですが、この１本で従来のすべてを凌駕してしまった。「Ａ」以上にナチュラルであり、サウンドは「Ｂ」を超越し、「Ｃ」よりも長いのです。
まずは何より、サウンド。これまでの最高峰だった「Ｂ」さえも問題外にする素晴らしい音世界に息が止まる。オーディエンスらしく熱狂も吸い込んでいますが、クリアな空気感を力強い芯が真っ直ぐに切り裂き、手応えもたっぷりならディテールも詳細。実のところ、基本の個性は「Ｂ」に似てもいるのですが、ナチュラル感も安定感も本作の方が上。オリジナル・マスターだけにダビング痕のない鮮度は究極であり、揺れや歪みがない。「Ｂ」ではときおり感じられたビビリさえもなく、1975年のヴィンテージ録音とは思えない艶やかさが揺るがない。本来であれば、新発掘でもマスターの可能性を最大限に引き出すリマスタリングを行うのですが、新マスター「Ｄ」にはその必要さえなかった。ピッチをチェックしただけのノン・リマスターで『DEFINITIVE KOBE 1975』の磨き込みサウンドを超えてしまったのです。
そのサウンドと同等以上に衝撃なのは、過去最長を更新する長さ。開演前やアンコール待ちも長いのですが、最大のトピックは終盤の「See What A Fool I’ve Been」。これまでの「Ａ」「Ｂ」では丸っきり録音されておらず、長尺だった「Ｃ」でも前半が大幅に録音漏れになっていた。これまで誰も聴けなかった貴重なパフォーマンスが完全形で聴けるのです。もちろん、70年代のカセット録音ですからテープチェンジ等のカットもあったのですが、それも12秒ほどのメンバー紹介シーンであったため演奏を削っていないのです（このシーンは『DEFINITIVE KOBE 1975』で補填致しました。個性が似ていることもあり、どこで繋いでいるか分からないほど自然な仕上がりになっています）。厳密には二度目のアンコール待ちでテープを節約する録音漏れもあるものの、そもそも従来マスターではほとんど収録のなかったパート。本作はそこだけで３分以上も長く収録されているのです。

ショウの中身は……もはや字数を重ねる必要もないでしょう。本作に目を留められる方なら既発群をご存じでしょうから。あの『DEFINITIVE KOBE 1975』で握り拳が痛くなった熱演、『KOBE 1975: ALTERNATE MASTER』で浸ったハイライト、そして初来日だけのスペクタクル。それらすべてを更なるハイクオリティ・サウンドでシームレス体験できてしまうのです。
「DEFINITIVE KOBE 1975が完全版だったらなぁ……」と妄想された方も多いかと思います。本作はその妄想を叶える……いえ、飛び越えてしまう想定外の大傑作。この世紀の新発掘、永久保存プレス２CDでしかとご体験ください！

・注目の’75年神戸公演の新音源｡オリジナル・マスター・カセットからダイレクトにデジタル化｡
音は当神戸公演の関連音源の中でもトップレベルでなお且つ最長収録盤音源となる新音源を元に､欠落部を
補填可能な箇所は補填して過去最長収録を実現｡曲間カットが数ヶ所ありますが演奏部分は完全収録です｡

・音源整理
・ソース1・・・アナログLP盤
・ソース2・・・Dressed To Kill(1CD)[Wardour-033]またはDefinitive Kobe 1975(1CD)[Wardour-311] ・ソース3・・・Kobe 1975 Alternate Master(2CD)[Wardour-338] ・ソース4・・・本盤・音は本公演の関連音源の中でもトップレベル､且つ最長収録盤音源｡

・音質は多少ダンゴっぽいモノラルAudですが意外と高域から低域までしっかり入っており非常にナチュラルです｡既発｢Dressd To Kill｣(1CD)[Wardour-033]または同音源のリマスター盤｢Definitive Kobe 1975｣(1CD)[W-311]と比べどっこいどっこいで､本盤の方が良い部分もあれば既発の方が良いと思える箇所もある(既発の方がボーカルがオンか？)が､安定度では既発より間違いなく良い｡今回は初登場なので原音重視でイコラも殆どしてません｡

収録時間は既発よりかなり長く､過去最長｡本盤で初登場となる演奏部分もあり(終盤See What A Fool I’ve Beenが初の完成版収録)､ライブ開始前のIntroductionやアンコール待ちの部分も既発より長い｡
W-033盤やW-311盤は終盤が未収で30分ほど今回盤の方が長い｡ソース3のW-338盤と比べても今回盤は5分ほど長い｡補填後のトータルで106分ほどの収録｡
2度目のアンコール待ち部分は既発より3分ほど長く収録(既発では殆ど入ってなかった｡)
一方ちょっとした汚点もあり､メンバー紹介の箇所で12秒ほどカットあり｡
これは今回は既発Dressd To Kill音源で補填｡補填のポイントは殆ど区別のつかないくらいにスムーズ｡
また2度目のアンコール待ちの箇所で3箇所カットありますが､既発盤にはアンコール待ち部そのものがほぼ未収録のため､補填のしようもないため今回はそのまま｡

Disc 1 (65:20)

01. Procession
02. Now I’m Here
03. Ogre Battle
04. Father To Son
05. White Queen
06. Flick Of The Wrist
07. Doing All Right
08. In The Lap Of The Gods
09. Killer Queen
10. The March Of The Black Queen
11. Bring Back That Leroy Brown
12. Son And Daughter
13. Guitar Solo
14. Band Introductions ★0:04-0:16ソース2で補填
15. Keep Yourself Alive
16. Seven Seas Of Rhye

Disc 2 (41:05)
01. Stone Cold Crazy
02. Liar
03. In The Lap Of The Gods…Revisited
04. Big Spender
05. Modern Times Rock ‘n’ Roll
06. Jailhouse Rock
07. See What A Fool I’ve Been
08. God Save The Queen

Wardour-367