“RATTLE THAT LOCK TOUR” has attracted attention as his first solo tour in nine years and has produced many famous recordings. The latest recording, the finest matrix album that is not even available on the internet, has arrived. This work was recorded at “Royal Albert Hall (RAH) performance on April 24, 2016.” Speaking of this traditional venue, it is still fresh in my memory that five performances were held during the European leg highlights in September and October last year. We introduced it as "ROYAL ALBERT HALL 2015 (Amity 334)" at our store. Actually, there will be a total of 10 RAH concerts on the “RATTLE THAT LOCK TOUR”. This work is an audience album of “5 performances in autumn 2015,” “1 performance in April 2016,” and “4 performances in September 2016.” Additionally, this concert was not a regular tour, but a special performance for the charity event "TEENAGE CANCER TRUST 2016", which supports young cancer patients. The event has been held since 2000, and Gilmore once participated. This year, comedians and musicians will perform on a rotating basis for six days from April 19th to 24th. Following JOHN BISHOP, THE VACCINES, SIMPLY RED, BRING ME THE HORIZON, and NEW ORDER, Gilmore appeared on the final day. Although it is such a special performance, the content is “RATTLE THAT LOCK TOUR” itself. The set list and the three-part structure of "Part 1 + Part 2 + Encore" are the same as the final part of the North American leg until last month. The members are basically the same, and in addition to regular backing vocalist Louise Claire Marshall, Lucita Jules, who only performed in South America, also participates. However, what is not the same is the sound. Until now, I have reported on many works from “RATTLE THAT LOCK TOUR”, but most of them have been carefully selected and remastered by world-renowned authorities on Floyd research. This time it was also provided by the landlord, but this work is a special one in which two audience recordings were matrixed by the landlord himself. Its greatest flavor is the depth of the sound. The reverberations of the two recordings are combined to create an indescribably fascinating sound. Of course, this work is not a blurred sound full of reverberation. The original recording was a clear sound with little reverberation, which was suitable for the landlord's glasses, but by combining such slight reverberations, it creates a three-dimensional effect and the musical sound stands out like a 3D image. It is. If we were to compare this beauty to light, it would be a brilliant cut diamond. Even if it is extremely transparent, it is the same as glass when it is flat. Even if light is refracted, it is no different from a lens. However, if the cut becomes complex, the refraction will overlap in various ways, and the transparency will transform into a brilliance that absorbs the soul of the person. The luster of this work's musical tones, the three-dimensional feel of the chirping of bells and birds, and the spatial sensation of loud cheers...it's truly a "sparkling sound." Even the saxophone tone that fades as if being sucked in at the ending of “Shine On You Crazy Diamond” is full of deep and deep brilliance. These effects are not guaranteed to be obtained by using a matrix. Recordings that are too different may overwhelm each other, and recordings that are too similar have little effect. It's not just about "similarity" or "dissimilarity," but also the direction in which they harmonize with each other. Just as a brilliant cut is created at a calculated angle, the sound quality, individuality, and directivity of the two recordings must be harmonized, and this cannot be achieved unless it is combined by someone who firmly understands this. Because he is a world authority on Floyd research, he was able to see the potential of original recordings and give form to that potential in an exquisite matrix. It is truly a rare masterpiece. Humans can sense depth because they see with two eyes, and sense space because they hear with two ears. This work depicts an even more multidimensional musical world by layering audience recordings with an excellent sense of space. There is no doubt that this sound was created because of the acoustics of the traditional venue RAH, but on the other hand, it cannot be experienced no matter where you are at RAH. The world of “RATTLE THAT LOCK TOUR” is depicted in a different space of shining sound. Please enjoy it to your heart's content. Royal Albert Hall, London, UK 24th April 2016 TRULY PERFECT SOUND(Matrixed from the 2 diff sources) Disc 1(74:46) 1. Introduction 2. 5 A.M. 3. Rattle That Lock 4. Faces Of Stone 5. Wish You Were Here 6. What Do You Want From Me 7. A Boat Lies Waiting 8. The Blue 9. Money 10. Us And Them 11. In Any Tongue 12. High Hopes Disc 2(69:36) 1. Astronomy Domine 2. Shine On You Crazy Diamond (Parts I-V) 3. Fat Old Sun 4. Coming Back To Life 5. Band Introductions 6. Girl In The Yellow Dress 7. Today 8. Sorrow 9. Run Like Hell Disc 3(17:11) 1. Time 2. Breathe (Reprise) 3. Comfortably Numb David Gilmour - guitars, lead vocals Phil Manzanera - guitars, backing vocals Guy Pratt - bass guitars, vocals Jon Carin - keyboards, guitars, vocals Kevin McAlea - keyboards Steve DiStanislao - drums, percussion , backing vocals Joao Mello - saxophones, keyboards Louise Clare Marshall - backing vocals Lucita Jules - backing vocals Bryan Chambers - backing vocals
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