YES / Definitive Tokyo 1973 / 6CD

YES / Definitive Tokyo 1973 / 6CD / Virtuoso

Koseinenkin Kaikan, Tokyo, Japan 8th, Shibuya Kokaido 9th & Kanda Kyoritsu Kodo 10th March 1973

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The first visit to Japan of the YES legend, which has garnered a remarkable attention the other day, with the appearance of the shock’s new excavation album “DEFINITIVE OSAKA 1973: UNRELEASED MASTER (Virtuoso 400/401)”. The top work is a reprint that updates the highest peak.
Such performances are contained in three performances “March 8, 1973: Tokyo Welfare Pension Hall”, “March 9: Shibuya Public Hall”, “March 10: Kanda Kyoritsu Auditorium”. Yes, it is a brush-up album of the great masterpiece “CLOSE TO THE EAST”, which is a compilation of the top masters of each performance. This great board is just the top of the legend. Before getting into the contents, let’s look back on the first visit to Japan, together with the shocking work “DEFINITIVE OSAKA 1973”.

・ March 8: Tokyo Welfare Pension Hall [This work Disc 1-2] ・ March 9: Shibuya Koukaido [This work Disc 3-4] ・ March 10: Kanda Kyoritsu Auditorium [This work Disc 5-6] ・ March 11: Nagoya City Public Hall
・ March 12: Osaka Koseinenkinkan “DEFINITIVE OSAKA 1973”
・ March 14: Kyoto Hall

Above, all 6 performances. I’m visiting four cities, half of them in Tokyo. This work is the best audience set which recorded the 3 performances entirely. And above all, sound quality is what makes this work a top. A number of pre-releases have been born only in the legendary first visit to Japan, but this work is the highest peak. Of course, although it has a vintage feel like the 70’s, its clearness is nonstandard at the time. Furthermore, the freshness that is directly digitized from the original original cassette is the ultimate. After all, when each sound source appeared, even in the specialized magazines of that time, “The unheard of excavated sound source (the first day)” “The sound seems to have been mostly taken in front of PA, and the sound is recorded strangely dead (the first day)” It is a surprise that this has been recorded in the clear (Day 2) “The position of the seat is also quite early, so it is recorded directly, so it is about to be heard as a PA out sound source for a moment (Day 2)” “This quality is wonderful even after 30 years (the third day)” and the storm of acclaimed by the three parties. The main point of this work is the truth of the first visit to Japan, but it is only the cultural heritage recording that will be the best masterpiece candidate of 70’s YES even if it sees globally. Especially on the first day (March 8: Disc 1-2), it was said that “If only this is recorded in the dead, mastering will be enough as an official boot”.
And this work, as the term of such a professional magazine, is something that has been taught in the latest mastering. From the first day (disc 1) “Siberian Khatru”, I can only say that it is supreme. The sound board-like edge sharpness and strength of the core, which are the most distinctive features of CLOSE TO THE EAST, were impressive. The core stays on directly, and the noise rising from there is as beautiful as ever. If you can see this, it’s the difference between a direct-to-table sound board and a polished official work. The sound and the feeling of the air are not cloudy, and they give an elegance to the exposed core. Moreover, the component of the sound is not the processing of the effect, but the atmosphere that was actually vibrating in Tokyo in 1973, and the reality of only one shot has not lost fine dust. Only the beauty stands out while maintaining a sense of documentation. I repeat to make sure, but the sharp details of the original sound and the on-state response have not fallen at all, and it is not really “like a different thing” (it is ruined if it is a different miracle different) . However, it aims at the dignity sound as the word “It is enough as an official boot” pointed out by a technical magazine, and it is realized.
It became long only on the first day, but the same applies to the second day (disc 3-4) and the third day (disc 5-6). Originally, the difference may be confusing because of the thicker recording than the first day (disc 1-2), but each scrutiny for each range. Smoothly adjust the subtle roughness, also carefully treated fine noise. We have pursued the “extreme” of each day. Furthermore, the degree of perfection for listening through 3 performances is also pursued. Of course there is a sense of unity in the sound, but we also focus on the full-length form for three days. The original sound had an unrecorded part on the 2nd and 3rd days (On the 2nd day, about 30 seconds in the late stage of “And You and I” and “Yours Is No Disgrace” and “Starship Trooper” of Encore. The 3rd day About 2 minutes at the beginning of “Siberian Khatru” from the middle of “Firebird Suite” and about 30 seconds of “Close To The Edge” about 5 minutes), reprinted maximally using separate recordings. The second day was the same day recording of the same level, and the third day was complemented by the first day take. The sound and the whole view of the show have a sense of work to be heard in a six-disc set.
The scene of the legend drawn by such a sound is overwhelming. Not only are complex phrasings fluttering and detailed symphonic tapestries drawn, but their single voices are youthful and lines of melody are sharp. The splendor was enjoyed the other day’s release “DEFINITIVE OSAKA 1973: UNRELEASED MASTER”, but this work is more documentary. After all, this work is the first visit to Japan. For the first time in Asia, they are the first sites to see the waves of black hair for the first time in their life. On the first day there is an unknown tension as to what kind of response will be returned, and it changes to relief and confidence over time, one day, over time. On the third day, they will have room to prepare for fan service, and will show “Sakura Sakura”. The MC “I sing a Japanese folk song I learned last night” is also a document, but the content is really great. It is not something like “I tried to sing a little” like a later-year-old nursery rhyme, but it plays very well including harmony. The melodies and words of Japan that are touched for the first time are fresh, and the figure of the young John Anderson who takes seriously is visible. However, it is not only good thing. The tension on the third day may have been relieved, but on the contrary, “Heart Of The Sunrise” may cause the texture to be worn out, the rhythm may go wrong, and even John may play a misstep that the lyrics are forgotten. However, this is also the truth of the scene where Japan and symphonic rock meet. This work is also a live album that can be taken to get the whole story.

One year and seven months from the Hakone of PINK FLOYD, eight months from the riot of EL & P. Brilliant and sophisticated symphonic rock landed in Japan for the first time. It is a cultural heritage of rock that permanently saved such a moment with the best sound. The impact of “DEFINITIVE OSAKA 1973: UNRELEASED MASTER” is not awaken now, so I want to taste it once again, “the record of the top”. Press CD 6-disc set updated its highest peak. Please experience the legendary scene with “the sound of extremes”.

★ A program replica of the very first page of the 1973 Japan-to-Japanese brochure, which spans 30 pages, completely reprinted in miniature size, is specially attached to the “first 100 sets” of “DEFINITIVE TOKYO 1973”.

Including articles written by famous music critics of that time, it is full of readings that make you feel at that time. At the end of the volume is an advertisement for Rick Wakeman’s “Henry VIII’s Six Wives” page, but “Merotron Wows, Moog Shouts !!” Stimulative catch copies such as Rick Wakeman’s 120% of the long-awaited solo album for which the fan showed its effect, are finally on sale! It is a very valuable book to know the culture of that time. (Advertisement is “Otsuki Musical Instrument Store” “PHILIPPE VENET” “Tonbo Musical Instruments Mfg” “GRECO Kanda Shokai” “Elk Musical Instrument” “Roppongi Disco PLUS ONE” “Shinjuku Disco CASTELLE” “VITIME (by time), medicine” “Morinaga Time- Sweets, “FENDER Yamano Musical Instruments”, etc.)

先日、衝撃の新発掘アルバム『DEFINITIVE OSAKA 1973: UNRELEASED MASTER(Virtuoso 400/401)』の登場により、俄然注目を集めているYES伝説の初来日。その頂点作が最高峰を更新して復刻です。
そんな本作に収められているのは3公演「1973年3月8日:東京厚生年金会館」「同3月9日:渋谷公会堂」「同3月10日:神田共立講堂」。そう、各公演の頂点マスターを集成した一大超大作『CLOSE TO THE EAST』のブラッシュアップ・アルバムです。この大名盤は、まさに伝説の頂点。その内容に入る前に、まずは衝撃作『DEFINITIVE OSAKA 1973』とも併せ、初来日を振り返ってみましょう。

・3月8日:東京厚生年金会館 【本作Disc 1-2】
・3月9日:渋谷公会堂 【本作Disc 3-4】
・3月10日:神田共立講堂 【本作Disc 5-6】
・3月12日:大阪厚生年金会館『DEFINITIVE OSAKA 1973』

そして本作はそんな専門誌の言葉通り、最新マスタリングで甦らせたもの。初日(ディスク1)の「Siberian Khatru」からしてもう、至高としか言いようがない。『CLOSE TO THE EAST』では最大の特色であるサウンドボード的なエッジの鋭さや芯の力強さが印象的でしたが、今回は微細な鳴りにも細心の配慮が行き届いている。芯はダイレクトでオンなまま、そこから立ち上る鳴りはどこまでも美しい。これを喩えるなら卓直結サウンドボードと、磨き込まれたオフィシャル作品のような違いです。鳴りや空気感が曇りではなく、丸出しの芯に気品を与えている。しかも、その鳴りの成分はエフェクトの加工ではなく、1973年の東京で現実に振動していた大気であり、一発録りだけのリアリティは微塵も損なわれていない。ドキュメント感を保ったまま、美しさだけがグッと引き立っている。念のために繰り返しますが、原音が持つ鋭いディテール、オンな手応えは一切落ちていませんし、実のところ「まるで別物」とは言えません(せっかくの奇跡を別物にしてしまったら台無しです)。ただ、専門誌が指摘した「オフィシャル・ブートとしても十分」という言葉通りの品格サウンドを目指し、実現させているのです。
初日だけで長くなってしまいましたが、2日目(ディスク3-4)、3日目(ディスク5-6)についても同様です。元々、初日(ディスク1-2)よりも鳴りが厚めの録音のために違いが分かりにくいかも知れませんが、それぞれ各音域ごとに精査。微妙なざらつきを滑らかに整え、微細なノイズも丁寧にトリートメント。各日の“極み”を追究いたしました。さらに言えば、3公演を通して聴くための完成度も追究。サウンドの統一感はもちろんですが、3日間の全長形にも注力。原音は2日目・3日目に録音漏れパートがありました(2日目は「And You and I」終盤の約30秒やアンコールの「Yours Is No Disgrace」「Starship Trooper」。3日目は「Firebird Suite」中盤から「Siberian Khatru」冒頭の2分間と、「Close To The Edge」5分台の約30秒)が、別録音を用いて最大限に復刻。2日目は同レベルの同日録音で、3日目は初日テイクで補完しました。サウンド面でもショウの全景という面でも、6枚組で聴き通す作品感を備えているのです。
そんなサウンドで描かれる伝説の現場こそが圧倒的。複雑なフレージングが乱舞して精緻なシンフォニック・タペストリーが描かれるだけなく、その一声一声が若々しく、旋律の一筋一筋がシャープなのです。その素晴らしさは先日リリースされた『DEFINITIVE OSAKA 1973: UNRELEASED MASTER』でも楽しめましたが、本作はさらにドキュメント感が鮮烈。何しろ、本作は初来日。彼らにとって初めてのアジアであり、生まれて初めて黒髪の波を目の当たりにした現場なのです。初日にはどんな反応が返ってくるのかも未知な緊張が感じられ、それが1曲、1日と時間が過ぎるほどに安堵と自信に変わっていく。3日目にはファンサービスまで用意する余裕が生まれ、「さくらさくら」を披露する。「昨晩覚えた日本のフォークソングを歌います」というMCもドキュメントですが、内容も実に素晴らしい。後年の童謡のように「ちょっと歌ってみました」的なものではなく、ハーモニーも含めて非常にしっかりと演奏。初めて触れる日本のメロディや言葉が新鮮で、真剣に取り組む若きジョン・アンダーソンの姿が垣間見えるのです。ただし、良い事ばかりでもない。この3日目は緊張感がほぐれたせいか、逆に「Heart Of The Sunrise」でキメがボロボロになりかけたり、リズムが狂ったり、さらにはジョンが歌詞を忘れるという失態も演じてしまう。しかし、これもまた日本とシンフォニック・ロックが出会った現場の真実。本作は、そんな一部始終を手に取る様に感じ取れるライヴアルバムでもあるのです。

PINK FLOYDの箱根から1年7ヶ月、EL&Pの大暴動から8ヶ月。華麗で精緻なシンフォニック・ロックが日本に初上陸した。そんな刹那を極上サウンドで永久保存したロックの文化遺産です。『DEFINITIVE OSAKA 1973: UNRELEASED MASTER』の衝撃が覚めやらぬ今だからこそ、今一度味わいたい“頂点の記録”。その最高峰を更新したプレスCD6枚組。どうぞ、伝説の現場を“極みの音”でご体験ください。

★「DEFINITIVE TOKYO 1973」の「★最初の100セット」に、30ページに及ぶ、大変貴重な1973年初来日パンフレットをミニチュアサイズで完全復刻したプログラム・レプリカが、特別に付属致します。

当時の有名音楽評論家による寄稿文章をはじめ、当時の世相を感じさせる読み物も満載。巻末にはリック・ウェイクマンの「ヘンリー8世の六人の妻」の広告が一ページ掲載されていますが、「メロトロンがうなり、ムーグが叫ぶ!!」「五台のマシーンを縦横無尽にあやつるリック・ウェイクマンがその効果を120%発揮したファン待望のソロアルバム、遂に発売!」など刺激的なキャッチコピーも目を惹きます。当時の文化を知る上でもたいへん貴重な一冊となっています。(広告は「大月楽器店」「PHILIPPE VENET」「トンボ楽器製作所」「GRECO 神田商会」「エルク楽器」「六本木ディスコ PLUS ONE」「新宿ディスコ CASTELLE」「VITIME(バイタイム)・薬」「森永タイム・菓子」「FENDER 山野楽器」等)

Live at Koseinenkin Kaikan, Tokyo, Japan 8th March 1973

Disc 1 (67:56)
1. Firebird Suite 2. Siberian Khatru 3. I’ve Seen All Good People 4. Heart Of The Sunrise
5. Mood For A Day 6. Clap 7. And You And I 8. Close To The Edge

Disc 2 (43:28)
1. Rick Wakeman Solo 2. Roundabout 3. Yours Is No Disgrace 4. Starship Trooper

Live at Shibuya Kokaido, Tokyo, Japan 9th March 1973

Disc 3 (48:33)
1. Firebird Suite 2. Siberian Khatru 3. I’ve Seen All Good People 4. Heart Of The Sunrise
5. Mood For A Day 6. The Clap 7. Colours Of The Rainbow 8. And You and I

Disc 4 (62:44)
1. MC 2. Close To The Edge 3. Rick Wakeman Solo 4. Roundabout
5. Yours Is No Disgrace 6. Starship Trooper

Live at Kanda Kyoritsu Kodo, Tokyo, Japan 10th March 1973

Disc 5 (51:01)
1. Firebird Suite 2. Siberian Khatru 3. I’ve Seen All Good People 4. Sakura Sakura
5. Mood For A Day 6. Clap 7. Heart Of The Sunrise 8. And You And I

Disc 6 (66:58)
1. Close To The Edge 2. Rick Wakeman Solo 3. Roundabout 4. Yours Is No Disgrace
5. Starship Trooper

Jon Anderson – Vocals Steve Howe – Guitar, Vocal Chris Squire – Bass, Vocal
Rick Wakeman – Keyboards Alan White – Drums

Virtuoso 402/403/404/405/406/407

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