YES / Definitive Osaka 1973 Unreleased Master / 2CD

YES / Definitive Osaka 1973 Unreleased Master / 2CD/ Virtuoso
Live at Koseinenkin Kaikan, Osaka, Japan 12th March 1973

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impact. What a shock. The world premiere master unearthed beyond the time of 46 years appears. It is an emergency release decision with perpetual preservation press 2CD.
The shock master recorded “March 12, 1973: Osaka Koseinenkinkan” performances. Yes, it is the best audience recording recorded in the first visit to Japan of YES legend. First of all, let’s look back on their first visit to Japan in the history of Japanese western music and confirm the show position.

・ March 8: Tokyo Welfare Pension Hall
・ March 9: Shibuya Public Hall
・ March 10: Kanda Kyoritsu Auditorium
・ March 11: Nagoya City Public Hall
・ March 12: Osaka Welfare Pension Hall [This work] ・ March 14: Kyoto Hall

[Stakeholder Master of New Excavations That Overwhelm Tradition] Above, all 6 performances. This is one week with Japan and YES music … No, it was a meeting with symphonic rock. Among them, in the first half of the Tokyo 3 performances, the upgrade master has been discovered many times, and our 6-disc set “CLOSE TO THE EAST (Virtuoso 125-130)” has won great popularity as a masterpiece of supreme. However, circumstances are different in Osaka performances. The former masterpiece “AND YOU AND I (RDM-942007A / B)” reigns as a great standard, but there is no digging of the upgrade master after that, and the later version is also a copy of “AND YOU AND I” . Several decades have passed without new discoveries. And 46 years from the scene of the legend. Finally, a completely unknown new master was discovered.
The fact that another recording existed alone was a tremor, but the contents were even more intense. It is a master brought in by the original route, but this is not just a customer record. I do not say in detail, but it is a person concerned recording. Quality is the proof. Naturally, it is not only completely different from “AND YOU AND I”, but it is significantly higher. First, the playing sound. This is already fiercely on. “AND YOU AND I” was an amazingly clear audience recording in the early 70’s, but I could not deny the sense of distance. It was a type where YES music drawn in the distance reached the hand while keeping the space clear, and beauty was found in the illusion that poured down. However, this work feels YES to the side immediately. Of course, if you listen to it with headphones, you can hear the sound of a hole, but the core of the heart is that you can not feel the time lag from the output of PA to the microphone, and the sound will just rise from the direct core like an aura.
The thinness of the air directly leads to the vividness and three-dimensionality of the details. Complex ensembles are also beautifully recorded up to one sound, and the entanglement of the line with a sharp outline produces a three-dimensional effect. If you say “three-dimensional” in the audience recording, you may think of the sense of space in the venue, but it is not. The three-dimensional effect of the ensemble itself that five people spin is in it. In a nutshell, it is a soundboard-like recording rather than the traditional recording “AND YOU AND I”. Furthermore, it is the cheers of the scene that enhances the soundboard nuances. Actually, I can hardly hear this. Of course, once you complete one song, you will see a big whistle blazing, but it’s a type that spreads to the far end, and it’s not a close screaming or applause.
The reason for achieving this sound is probably the factor that has the largest stakeholder position. It’s a complete guess from here, but maybe the microphone was recorded at the mixing desk. There is a direct feeling and a sense of separation in the sound so that I can only think so, it is well-balanced, stable, and far from cheers. Of course, even at the time of the audience recording, it can be realized with only one of the elements. However, in a PA environment that is incomparably poor compared to the present, where is the position that combines all of them … if you think so, only the mixing desk can not be conceived.

[The scene of the legend that speaks with the best sound] However, the new excavation master was not perfect. The first 30 seconds of the “Firebird Suite” is shorter than the previous version, and “Close To The Edge” has three possible moments of master deterioration. And the recording was finished in the second half (9 minutes) of “Yours Is No Disgrace” of Encore, and “Starship Trooper” of the large lath was not left. I was able to permanently save the truth of such a recording, but the scene of this work is the first visit of a legendary legend. We complemented these parts with the traditional recording “AND YOU AND I” and reproduced the full show in complete form. Of course, “AND YOU AND I” recording is as close as possible to the new excavation master by remastering, but the individuality of the recording itself is difficult. I think it feels like you suddenly leave the stage here, but that is also the moment when you realize the ugliness of the new excavation master.
The first coming to Japan of the legend drawn by such shock sound is so wonderful that it shakes. Although I came to Japan many times during a long history apart from 1988, I heard the beauty of YES music, but still the 70’s are different. There is a taste unique to those days, and the voice of John Anderson and Chris Squire is also young. And I’m used to foreign countries in the Far East or better than the Tokyo tour. As a matter of fact, “Heart Of The Sunrise”, which became a major disaster in Tokyo, makes a mistake in Osaka, but it will soon be rebuilt across the band to match the drums. At that time it was a time when foreign sauce itself came to Japan, but if you look at it in reverse, Japan was unknown to Rock. It is a document that has been released from the tension and has restored its original radiance.
In addition, the potential unique to the era that produced the famous song in the phrase one by one dwells. Is it especially Steve Howe to release the flash? You can listen to the sharp guitars in each song, but “Oh!” Is “Mood For A Day”. I make a mistake here too, but I will push it out with force. The free impro first time feels really good, and it ends up with a great version. And speaking of the symbol of the first visit to Japan, “Sakura Sakura” by John. The idea is to start from the Kanda Kyoritsu Auditorium, which will be the third performance in Tokyo, but you will be able to experience the third version of Osaka with a close-up sound.

In any case there is no shock. It is a live album that has made the first Osaka of the legendary the short-range sound that overturns the tradition while being a large excavation once in 10 or 20 years. A great discovery of YES recording history, a treasure of Japanese Western music history. It’s definitely a “cultural heritage” itself, but one that is overwhelmingly overwhelmed by the weight that even its tidying up with its words. As well as the first visit to Japan 46 years ago, please experience fully with Press 2CD that will leave forever the joy of excavation that takes place today.

★ This is a big incident! ! The official debut complete master of official outflow!


・3月12日:大阪厚生年金会館 【本作】

以上、全6公演。これが日本とYESミュージックとの……いえ、シンフォニック・ロックとの出会いとなった一週間でした。そのうち、前半の東京3公演は何度もアップグレード・マスターが発見され、当店の6枚組『CLOSE TO THE EAST(Virtuoso 125-130)』が至高の名作として大好評を賜っております。しかし、大阪公演は事情が異なる。かつての名盤『AND YOU AND I(RDM-942007A/B)』こそ大定番として君臨したものの、それ以降にアップグレード・マスターの発掘はなく、出回る後発盤も『AND YOU AND I』のコピー物ばかり。新たな発見がないまま数十年の時が経ってきました。そして、伝説の現場から46年。遂に、まったく未知の新マスターが発見されたのです。
別録音が存在した事だけでも震撼ものですが、中身はさらに強烈だった。独自ルートでもたらされたマスターなのですが、これがただの客録ではない。詳しくは申せませんが、なんと関係者録音なのです。その証となるのがクオリティ。当然のことながら『AND YOU AND I』とは完全に違うだけでなく、大幅に上回っているのです。まず、演奏音。これがもう、猛烈にオン。『AND YOU AND I』も70年代初期にしては驚異的にクリアなオーディエンス録音でしたが、距離感は否めなかった。遠くで描かれるYESミュージックが空間をたゆたいながら手元に届き、その降り注ぐ幻想感に美を見出すタイプでした。しかし、本作はすぐ側にYESを感じる。もちろん、ヘッドフォンで聴けばホール鳴りも感じるものの、肝心の芯はPAの出力からマイクまでのタイムラグが感じられず、鳴りはダイレクトな芯からオーラのように(ほんのりと)立ち上るだけなのです。
その空気感の薄さはディテールの鮮やかさや立体感にも直結する。複雑なアンサンブルも1音1音まで綺麗に記録され、輪郭もクッキリとしたラインの絡みが立体感を演出している。オーディエンス録音で「立体感」というと会場の空間感覚を思い浮かべるかも知れませんが、そうではありません。5人が紡ぐアンサンブルそのものの立体感が宿っている。一言で言えば、伝統録音『AND YOU AND I』よりもグッとサウンドボード的な録音なのです。さらにサウンドボード的なニュアンスを高めているのが、現場の歓声。実は、これがほとんど聞こえない。もちろん、1曲1曲を終えれば盛大な喝采が沸き起こるものの、それはあくまでも遠く遠くに広がるタイプであり、間近な絶叫や拍手ではないのです。

とは言え、新発掘マスターも完全無欠ではありませんでした。「Firebird Suite」冒頭の30秒が既発よりも短く、「Close To The Edge」にはマスター劣化と思われる瞬間が3カ所。そして、アンコールの「Yours Is No Disgrace」後半(9分台)で録音が終了しており、大ラスの「Starship Trooper」は残されていませんでした。そんな録音の真実を永久保存する事もできたのですが、本作の現場は他でもない伝説の初来日。そうしたパートを伝統録音『AND YOU AND I』で補完し、フルショウを完全形で再現いたしました。もちろん、『AND YOU AND I』録音もリマスタリングで可能な限り新発掘マスターに近づけてはおりますが、録音自体の個性はいかんともし難い。ここで急にステージから離れてしまうように感じられると思いますが、それこそ新発掘マスターの凄さを実感する瞬間でもあります。
そんな衝撃サウンドで描かれるの伝説の初来日は、震えるほどに素晴らしい。1988年は別にするとしても長い歴史の間に何度も来日してはYESミュージックの美しさを聴かせてくれましたが、やはり70年代は違う。音色ひとつをとっても当時ならではの味わいがあり、ジョン・アンダーソンやクリス・スクワイアの歌声も若い。そして、極東の異国に慣れてきたのか東京公演よりも出来が良い。実のところ、東京で大崩れとなった「Heart Of The Sunrise」は大阪でもミスするのですが、ドラムに合わせてバンド全体ですぐさま立て直す。当時は外タレの来日自体が数少ない時代だったわけですが、それを逆に見ればロックにとって日本は未知の国だった。その緊張感から解放され、本来の輝きを取り戻していったドキュメントでもあるのです。
また、フレーズ1つひとつにも名曲を生み出した時代ならではのポテンシャルが宿っている。特にその閃きを放つのはスティーヴ・ハウでしょうか。各曲で切れ味鋭いギターを聴かせてくれますが、「お!」となるのが「Mood For A Day」。ここでも珍しくミスるのですが、それを勢いで押し切る。その自在なインプロぶりが実に良い感じで、結局素晴らしいバージョンに仕上げてしまうのです。そして、初来日の象徴と言えば、ジョンによる「さくらさくら」。東京3公演目となる神田共立講堂から始めた趣向ですが、3回目となる大阪バージョンを間近サウンドで体験できてしまうのです。




Disc 1 (64:15)
1. Firebird Suite 2. Siberian Khatru 3. Heart Of The Sunrise 4. Sakura Sakura
5. Mood For A Day 6. Clap 7. And You And I 8. Close To The Edge

Disc 2 (48:53)
1. Wakeman Solo 2. Roundabout 3. Yours Is No Disgrace 4. Starship Trooper

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

Virtuoso 400/401

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