Pink Floyd/London,UK 1967 Upgrade

The sound sources from when Floyd's activities started in earnest in 1967, when he was with Sid, include the sound source at Star Club in Denmark on September 13th and the Swedish sound source on September 10th, although the absolute number of live performances is small. Some sound sources remain unofficial. However, when it comes to excellent sound quality in a mono recording for commercial broadcasting with stable localization, there is nothing like the on-air sound source of the British BBC "Top Gear" recorded and broadcast in the latter half of 1967. As you know, this 1967 BBC sound source was in a state of chaos, with a wide variety of items circulating since the days of analog bootleg LPs, but in 2011, Harvested, a world-renowned archival team for Floyd research, released it for about six months at the time. The sound sources that took a long time and effort to carefully examine and compile the 60's BBC sessions, which were a mixture of cobblestones, left a big footprint in the history of Floyd sound sources. The album titles include the overseas-made 2-disc set "BBC Archives 1967-1969 (PFBBC-67/6869)" which is a straight copy of the Harvested release version at that time, and the "Ultimate compilation of rare tracks 1967-1969 SBD (Utimate Edition)". Several upgraded versions have appeared in the past, including the ``40th Anniversary Edition'' and the ``40th Anniversary Edition''. However, this latest work that appears this time is not a rehash of the Harvested version and uploaded to the internet, but uses original sources directly provided by overseas Floyd maniacs, and is familiar from those existing sound sources. It has achieved a quality that even surpasses the quality of the sound quality! The upper feeling of the sound quality is surprising, and when listening to this, the Harvested sound source up to now has a certain high quality, but it has a dynamic and Everyone could see that there was a lack of clarity. In particular, the round sound that had been concentrated in the center has regained its edgy sharpness, and everyone will be amazed at the granularity and clarity of the sound, as if a thin layer of skin has been peeled off. Due to the increased directness of the original sound, there is a bit more hiss in the first two songs, but the source is a bright mono take of the original mixed by the BBC (* Of course, it is not a fake stereo), and the pitch is perfectly adjusted, so the quality and luxury of the sound is not impaired at all. It is also noteworthy that this time the DJ's talk is recorded as it was broadcast, which also adds further shine to the original sound source. Each of the previously released editions mentioned above focused on the music itself, so the song introduction and talk by host John Peel, which originally existed before and after each song, were completely cut out. It would have been fine to listen to only the sophisticated sounds that Harvested selected, but these days people want unprocessed and original sound sources, and such unilateral cuts and cuts by producers are becoming more and more desirable. The editing process is rather disappointing. However, this work, which came out through a different route than Harvested, has further improved the sound quality, and all existing scenes, including the DJ part that was completely cut, have been restored in their original form. And one more thing to mention is that the songs in this work are recorded in the original order of the songs at the time of broadcast. If you have a pre-released version, please compare the order of the songs with this one, and you will see that there has been a significant change in the order of the songs. If you listen to the DJ talk part that has been revived this time (it includes a re-introduction of the song that was just played and an introduction to the song that will be played next), you will see that the recording order of this work is the correct order of the songs as broadcast. This is obvious, but at the same time, you should also be able to see the fact that the order of the songs was changed when the DJ talk part was cut from the previously released version. One point is that only tracks (3) "Scarecrow" and (4) "Flaming" have been replaced with recent BBC rebroadcast takes, but this is the correct order of the broadcast songs. Even so, even if you are not a core fan, you will feel the irresistible charm of the Sid-era Floyd with its vivid sound quality and unprocessed feel. For example, before the performance of ``The Gnome'' begins, there is an introduction and comment by John Peel that is not on the previous release, and you can feel that it has a vivid sense of clarity from the beginning of the crackling sound. . You can hear the celesta's thin melody and vivid breathing/sighing in the partial parts even closer, and the scene where the song is introduced again after the end and connects to the next song is different from the previously released version where the order of the songs was changed. The natural flow that you don't find in other songs further increases the satisfaction of the listener. In “Matilda Mother,” Sid’s voice and bass movements come out powerfully, and the way the tone of the organ strangely changes and the sound of the hi-hat bursting outwards are the clearest ever. You will enjoy it. The sound image of “Scarecrow” and “Flaming”, which have been replaced with recent rebroadcast takes, has improved tremendously, and you can enjoy a more lively spatiality than you can hear on the album. In particular, in ``Flaming'', the electric piano scale that often appears as an accent sways even more dazzlingly, and in ``Taiyou Hymn'', the movement of each instrument can be followed with a clearer high-level sound, making the initial structure of the song It's also nice to be able to understand it intuitively. "Apples And Oranges" was performed on the BBC on September 25, the same day as (1) to (6), but as you know, this song was aired on a different day (November 5, 1967). It may have been timed to coincide with the release of this single on November 18th), and was not included in the previous release. However, this work is also newly recorded because it was performed on the same day. Of course, this sound quality is also good, and you can catch a glimpse of Sid and early Floyd surrendering themselves to a more romantic sound than the later recording take in the descending sound type from 1 minute 35 seconds in the second half, which is moving. Track (8) from John Peel MC is the session of December 20, 1967. The resolution of the sound has also increased significantly compared to the previously released version, but the sound is sharper and more edgy than the September 25th sound source that can be heard on tracks (1) to (7). . This is already noticeable from “Vegetable Man”, and you will feel that the impression received is quite different from the previously released sound, which was recorded with a sharp and mild sound quality. The increased clarity gives the rich depth that can only be achieved with monaural music, giving a higher level of listening comfort, and DJ talk, which was deleted in the previous release, is included as track (10) in its original form. You can't miss it either. "Scream Thy Last Scream" also has a much improved sense of clarity and spaciousness, and the guitar's extension and residual resonance are even sharper, and the organ's appearance is even closer. “Jugband Blues” also had a flat sound that was solidified in the center on the previously released version, but here you will notice that the sound spread and vividness has improved. The way the tambourine plays in the middle is vivid, and you can enjoy the series of comically dull sounds that play behind it with the clearest sound ever. "Pow R Toc H" also has Roger's strange voice and sigh (Sid?) sounding more vividly, and the detailed surrounding sounds that were deep in the previous releases can be heard clearly, making it full of experimentation. I think you will be able to enjoy the perfect expression of the song. It is also worth checking out that even after the final song, the outlaw MC by John Peel, which was erased from the previous releases, is revived as track (14). By the way, program host John Peel, who often appears between songs in this work, says in an interview he gave in the 1970s that he first learned about Floyd before working for the BBC. It seems that it all started when I was living in California (*probably when I was working at radio station KMEN or KOMA) and hearing an acquaintance talk passionately about Floyd and Jimi Hendrix that he had seen in London. He returned to England and started working for the BBC in the spring of 1967, which is the same year that you can hear about him in this work, but he was actually not that impressed when he saw Floyd, which his acquaintances were talking about so passionately. Instead, he says that what left a lasting impression on him was Arthur Brown, who was also appearing at the same time. He confessed that he realized the importance of Floyd's existence when he listened to his debut LP (*= release date after August 5, 1967), so in this work. John Peel's admiring voice during the broadcast (*September 25th and December 20th) is exactly the heart-throbbing, passionate voice he heard right after he opened his eyes to Floyd. Therefore, the fact that such a passionate DJ part was completely cut out on the previous release was a negative factor that cannot be underestimated, and that is why this album includes his honest and passionate talk as it was when it was aired. The thing is, it's actually a hidden listening point that deserves a lot of attention. When I listened to it keeping in mind the secret fact that although the famous host had watched Floyd in private beforehand, he actually had no special interest in Floyd until just before the recording, I realized that the original sound source. You will discover a different kind of fun. Further details about John Peel talking about Floyd can be found in "PINK FLOYD STORY - Japanese Broadcast Edition Part 1 "The Early Years", which is a recording of a radio program broadcast in Japan in the late 1970s. You can listen to the Japanese translated broadcast version. This is an excellent title that allows you to listen to a valuable interview with the living Sid Palette in Japanese translation, as well as a number of interesting comments by each member of Floyd. I have written at length since the first title in 2016, but as I said at the beginning, this sound source is the label's first title in 1967. Of course, this does not mean that they looked down on early Floyd, but it is undeniable that even though they are a Floyd specialty label, they have not focused on the sound sources of Sid's time. However, because they were behind the curve, they released something definitive that no other label could match. This 1967 BBC, where you can enjoy the unprocessed sources used in the highest sound quality ever, is sure to have a big impact even if you are not a core fan, and it is a great musical hint that Sid gave to that era and future generations. It is an excellent title that allows you to read and understand the words in a lively and real way that is even more challenging. Be sure to start this year's Floyd event this weekend with the latest version of the famous sound source that symbolizes Floyd's original activities, and indulge yourself in an excellent sound that exceeds the standard Harvested source. BBC Playhouse Theatre, London, UK 25th September 1967 Broadcast 1st October 1967 (33:43) 1. The Gnome 2. Matilda Mother 3. Scarecrow 4. Flaming 5. Set The Controls For The Heart Of The Sun 6. Reaction In G 7 Apples And Oranges (Broadcast 5th November 1967) BBC Media Vale Studios, London, UK 20th December 1967 Broadcast 31st December 1967 8. John Peel Intro. 9. Vegetable Man 10. Tommy Vance and John Peel 11. Scream Thy Last Scream 12. Jugband Blues 13. Pow R Toc H 14. John Peel Outro.