YES / Live In Amagasaki 2019 / 2CDR

YES / Live In Amagasaki 2019 / 2CDR / Non label
Live at Amashin Archaic Hall, Amagasaki, Japan 20th February 2019

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The other day YES, I completed the 50th anniversary tour in Japan. The participation of Tony Kay’s guest, the song for the first time in Japan, and the super rare set full of plenty of topics also became a topic, but the masterpiece original recording that tells the scene is the gift release decision!
What is included in such a work is “February 20, 2019: Ashin Archaic Hall” performances. It is the beautiful audience recording. The set for this day’s visit to Japan was foreshadowed from the day in advance, and it was different from the foreword that it was actually performed. The whole show is just over, so let’s organize the notice and the actual show first.

・ February 19 (Nagoya): Best song selection → “Crisis” reproduction
・ February 20 (Osaka): Best selection → “Crisis” reproduction ★ this work ★
・ February 22 (Tokyo Day 1): “Crisis” reproduction → “Crisis” reproduction
・ February 23 (Tokyo second day): Best song selection → Best song selection
・ February 24th (Tokyo third day): “Third” reproduction → “Third” reproduction

Above, all 5 performances. The first announcement was to perform one of the best set of songs in Tomeisaka, and the first day of Tokyo was “crisis” reproduced, and the last day was “third album” reproduced. However, it was different when I opened the lid. “Crisis” is reproduced in the first three days of Higashi-Meihan Osaka, and the best song selection and “third album” are reproduced in the remaining two days. As a result, it looks like a “crisis” reproduction tour. However, all songs are representative songs of the major work “crisis”. It is not a mistake to call it the best song selection, like a lie and not a lie. It was also a content that could be said as an announcement in a sense. This show’s Amagasaki performance is a show that is both a “best choice” and a “crisis reproduction”. It was a concert of the most popular basic set this time in Japan.
This work which recorded such a show is a wonderful masterpiece audience recording. Three days after the concert production as a tour first report, it was a gift and released, but I think that the quality is best now just by taking it out, it is a huge masterpiece. Although it is an original master of only this work provided by the recording house himself, the sound which inhaled the venue sound is not a type mistaken for the line recording, but it is a beauty point in the YES show. It is a beauty recording where the chorus work and the melody are falling from the sky. Of course, it doesn’t make sense to become blurry at the venue acoustics, but there is nothing to worry about this. If one note or one note of each instrument is too thick for the core, the details are also vivid. As each member descends to compete for the melodiousness, yet each one of the melody that composes the ensemble is clear.
After all, it is wonderful to the deep bass which determines the quality of the customer record. The bass is also a sense of touch and feel without crushing one sound and one sound, and the flowing lines are also drawn clearly. And there is plenty of responsive mid-range sounding, and sparkling high-pitched dances … Rather, it is possible to have the fastest release three days after production, because it is raw and excellent.
What is drawn in that quality is a storm of extremely rare songs. Unexpectedly long-time “Yours Is No Disgrace” and “We Can Fly” was done in 2012, but also “Sweet Dreams” of “Time and Words”, “Parallels” of Parallels, and “Tomat” ‘Madrigal’, ‘Nine Voices (Longwalker)’ of ‘Ladder’, etc. A historical show enriched with 50 years of YES glory, including songs released for the first time in Japan, unfolds.
And the core of the set is the perfect reproduction of the Daimyo “crisis”. And the music is great. Currently, it has been highly acclaimed in all areas as “Better than last five years ago!”, But the sound of this work is perfect. Both the extremely rare masterpieces and the live performance version of the masterpiece are live albums that let you taste the whole thing with great sounds.

Masterpiece recording became very popular as a tour alert. This week, the same recorder collection “NAGOYA & AMAGASAKI 2019 (Amity 523)” will also appear, but it is a masterpiece that can be recommended for anyone who says that 2 performances and 4 sets are heavy … suddenly. For those who participated in the Osaka performances, as a record of memories, for those who participated on the second and third days of Tokyo, as evidence of the sound that will tell “What was the crisis show?” By all means, it is one you want to taste.
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つい先日、結成50周年ツアーの来日公演を完遂したYES。トニー・ケイのゲスト参加、日本初公開の曲もたっぷりな激レアセットも話題となりましたが、その現場を伝える傑作オリジナル録音がギフト・リリース決定です！
そんな本作に収められているのは「2019年２月20日：あましんアルカイックホール」公演。その美麗オーディエンス録音です。今回の来日公演は事前から日替わりセットが予告されており、実際に行われたのは予告とチョット違った。全公演が終わったばかりでもありますので、まずは予告と実際のショウを整理してみましょう。

・２月19日（名古屋）：ベスト選曲→『危機』再現
・２月20日（大阪）：ベスト選曲→『危機』再現　←★本作★
・２月22日（東京1日目）：『危機』再現→『危機』再現
・２月23日（東京2日目）：ベスト選曲→ベスト選曲
・２月24日（東京3日目）：『サード』再現→『サード』再現

以上、全５公演。当初の告知では東名阪でベスト選曲セットを１公演ずつ行い、東京初日は『危機』再現、最終日は『サード・アルバム』再現となっていました。しかし、フタを空けてみると違った。東名阪の前半３日間全部で『危機』再現を行い、残りの２日間でベスト選曲と『サード・アルバム』再現。結果として『危機』再現ツアーかのような様相となりました。もっとも、大代表作『危機』は全曲が代表曲。その再現はベスト選曲と呼んでも間違いではなく、ウソのようでウソではない。ある意味で告知通りとも言える内容でもありました。本作の尼崎公演は、そんな「ベスト選曲」でありつつ「危機再現」でもあるショウ。今回の来日で、もっともポピュラーな基本セットのコンサートでした。
そんなショウを記録した本作は、何とも素晴らしい傑作オーディエンス録音。ツアー第一報としてコンサート本番の３日後にはギフト・リリースされたのですが、録って出しだけにクオリティは今いちかと思いきや、とんでもない大傑作。録音家本人から提供された本作だけのオリジナル・マスターなのですが、会場音響を吸い込んだサウンドはライン録音と間違えるタイプでこそないものの、それはYESショウには美点。コーラスワークと美旋律が天から降り注ぐ美録音なのです。もちろん、会場音響でボケボケになっては意味がありませんが、本作にその心配はない。各楽器の１音１音は芯も極太ならディテールも鮮やか。メンバーそれぞれが美旋律を競い合うように降り注ぎつつ、それでいてアンサンブルを編み上げるメロディの１本１本が克明なのです。
何しろ、客録の良し悪しを左右する重低音まで素晴らしい。ベースも１音１音が潰れずにゴリゴリと手触り感覚であり、なおかつ流れるラインも克明に描かれていく。そして、そこにたっぷりとした手応えの中音域が鳴り、キラキラと輝く高音が舞う……むしろ、無加工で絶品だからこそ本番から３日後の最速リリースも可能だったのです。
そのクオリティで描かれるのは、まさに激レア曲の嵐。意外に久々な「Yours Is No Disgrace」や「We Can Fly」は2012年にもやっていましたが、さらに『時間と言葉』の「Sweet Dreams」、『究極』の「Parallels」、『トーマト』の「Madrigal」、『ラダー』の「Nine Voices (Longwalker)」等々。日本初公開の曲も含め、YES栄光の50年を濃縮したヒストリカルなショウが繰り広げられるのです。
そしてセットの中核を担うのは、大名盤『危機』の完全再現。しかも、演奏が素晴らしい。現在、各方面で「前回、再現された５年前より良い！」と大絶賛されておりますが、本作のサウンドはその機微がばっちり。激レアな名曲群も、生演奏版の大名盤も、一部始終を素晴らしいサウンドでたっぷり味わえるライヴアルバムなのです。

ツアー速報として大人気となった傑作録音。今週は同一録音家コレクション『NAGOYA & AMAGASAKI 2019（Amity 523）』も登場しますが、いきなり２公演・４枚組は重い……という方にも全力でお薦めできる傑作です。大阪公演に参加された方には思い出の記録として、東京２日目／３日目に参加された方には「危機ショウはどんな感じだった？」を教えてくれる音の証拠として。ぜひ、味わっていただきたい１本です。

Disc 1 (46:52)
1. The Firebird Suite 2. Parallels 3. Sweet Dreams
4. Fly From Here, Part I: We Can Fly 5. Nine Voices (Longwalker) 6. Clap
7. Madrigal 8. Yours Is No Disgrace

Disc 2 (72:29)
1. Close to the Edge 2. And You and I 3. Siberian Khatru
4. No Opportunity Necessary, No Experience Needed 5. Roundabout
6. Band Introductions 7. Starship Trooper

Steve Howe – guitar, vocals Alan White – drums Geoff Downes – keyboards, vocals
Jon Davison – vocals Billy Sherwood – bass, vocals Jay Schellen – drums
Tony Kaye – keyboards (Special Guest)