Pink Floyd/Tokyo,Japan 1972 New Master

Even more shocking!! Another shocking first appearance of Floyd will be released this week!! Approximately half a year after Hakone Aphrodite, Floyd came to Japan for the second time on March 7, 1972, Tokyo Metropolitan Gymnasium 2nd. This is the first new excavated sound source that includes the full eye pattern!! "COMPLETE APHRODITE 1971", which was released simultaneously this week, is the first in 45 years to reveal the full story of Hakone Aphrodite in full recording and super A-class sound quality. It's a giga-class title that only comes once a year. However, the appearance of this sound source is no less than that. This is because the only sound source for this recording of the second day at the Tokyo Metropolitan Gymnasium in 1972 was ``LIVE IN TOKYO 1972'', which was released on the overseas label ZEUS in 1999, and for some reason other recording sources have not been released until now. It's a performance day that is like an air pocket. However, although the source used on this ZEUS edition has a sense of transparency, the performance sound is weak overall, and from Disc 2, which captures the second half of the show, the right channel component becomes thinner, and most of the sound comes from the left side. It was a difficult recording source because the sound progressed only by itself, and the bass was noticeably crushed. Moreover, there was a very painful drawback that the encore "Taiyo Sanka" faded out in the middle and ended the disc, but as a listener, this was the only recording source, so this ZEUS version = Recorder 1 I had no choice but to listen. But that will finally come to an end this weekend. This is because Recorder 2, which is the first in history to overcome all the weaknesses in sound quality and also record the complete uncut version of "Taiyou Hymn" for the first time in history, will completely rewrite the history of the sound source of this day!! In fact, this is it. was recorded by the same person who recorded the complete version of Hakone Aphrodite, which will be released at the same time this weekend. This time, the recorder himself revealed that this is the second treasured sound source that was given to him along with the complete Hakone sound source, and that the recording equipment used was the same (* = Densuke and cassette tape). Naturally, like the Hakone complete sound source, this is a completely original master that appeared for the first time in the world because the recorder himself did not release it to the world for 44 years, but the recorded content was also amazing. In other words: 1. The performance sound has a deep sense of density and transparency from beginning to end, giving a tough and responsive listening experience. The treble range also has extension and space, and there is no sound cracking in all scenes. 2. From disc 2, which captures the second half of the show, the sound quality has further improved, and like the ZEUS disc, the right channel The components are not diluted, and the sound image has an outstanding sense of stability until the end of the disc. 3. Complete uncut recording of the encore "Taiyo Sanka". This is the great achievement of the first appearance and world premiere of the sound source on the same day. Furthermore, the recording continued even after that, and even included what happened after the performance... etc. It is an amazing new excavated sound source that boasts a high-grade sound and content that easily surpasses the only ZEUS edition to date = Recorder 1. I think it's more appropriate to say that this is an amazing new standard sound source rather than just an upper version of that day, but this work is a digital version of this great excavated treasured tape directly from the master. -This has been transferred and pressed without any modification other than pitch correction. In order to conserve remaining tape, recording is turned on and off between songs after each performance, but it is noteworthy that all the songs are recorded and the sound quality is excellent and fresh. Above all, there must be immeasurable joy in considering and deciphering this day's performance from a brand new perspective, which until now was only available on the ZEUS version = Recorder 1. Also, since the recording position is different from Recorder 1 (*and probably the recording equipment and tape used), the impression of the sound output is quite different from the sound that was heard on the ZEUS edition so far. That's the point. The biggest difference is the thickness, density, and clarity of the sound, but if you listen to how each instrument sounds, you'll notice that the sounds of the organ and synthesizer are recorded with clear close-up sounds. . For example, when "Breath of Life" begins, the performance sound oozes out in high concentration from the elastic low range, but when comparing both sources, on the ZEUS version, the guitar sound comes out more forward than the organ. The organ is recessed and produces an inconspicuous sound. Of course, the guitar can be heard clearly in this recording, but at the same time, the organ has an even more beautiful sound, so the source for the ZEUS edition was probably recorded on the left side of the venue, closer to Gilmore, and this recording had a recorder slightly to the right of the center. (*The singing voice also comes more directly from the center in this work). In the ZEUS edition, there was sound cracking in most of the scenes in which the entire instrument sounds in "Kuranite", but in this recording there is no sound cracking at all, and you can enjoy the music with an outstandingly stable sound image. We have the joy of doing so. "Time" also appears with the closeness and thickness of the clock ticking sound at the beginning, as well as the prominence and vividness of the first note, and a melancholy song with multiple notes progressing simultaneously. It runs through your ears with a richness between sounds, and even in "Koku no Scat", the organ that sounded faint and far away on the ZUES version appears one by one with a closer and deeper tone, and the speaking voice that comes in on SE also becomes clearer. Your ears will be glued to the extraordinary upper sound as the sounds of each part stand out and flow away beautifully. The register sound at the beginning of "Money" also jumps out with a toughness and vividness that is incomparable to Recorder 1, and the movement of the massive low range led by the voice of young Gilmore, its density and weight completely overwhelms the ZEUS album sound. I am. "Us and Them" also shows off the power of the organ's resonance and tone, instantly blowing away the ZEUS sound that was being played with a light and lackluster sound (* It starts in the second half of the song) The same goes for the organ solo, and you'll notice that the tone and performance give a much different impression.) Also, note that Gilmore's voice and the deep delay applied to the guitar can be heard more than ever before, and you should be able to grasp each guitar sound with more certainty than ever before. I think you can experience a brand new sound contrast in ``Kibutsu no Iro wo'', where the passionate playing of the guitar combines with the tough and dense performance sound in the background, and ``Kyoujin wa Kokoro ni'' also has a sound that is closer to Recorder 1 or higher. The guitar arpeggio and singing at the beginning of the song are sure to captivate your heart. Then, in ``Insanity Eclipse,'' the final synth sound slowly descends, and the evolving possibilities of the prototype motif, such as this day's ``awakening from madness,'' further strengthen the listener's intellect. It stimulates me. The wonderful sound continues as it is in the second half of the show on Disc 2, but surprisingly the sound quality improves even more from the beginning of “Eugene, be careful with the axe”. Also, in the ZEUS edition, the right channel component faded from disc 2, resulting in a sound image that was difficult to localize, but in this recording, the rich and transparent vintage sound from the left and right channels is firmly planted on the ground. You can feel the superiority and high quality of the sound even more strongly. You can immediately experience this in "Fukeyo Kaze, Call Yo Arashi", and that ZEUS sound that was very hard to listen to because the bass cracked every time, appears for the first time in history as the original undamaged direct sound of the performance. . Also, in this day's performance, there is a scene where the sound of the sequencer suddenly recedes at around 2 minutes 57 seconds and no sound comes out, perhaps due to a problem with the PA system (* production?) (* 6 minutes 11 seconds into the second half) (It will be demodulated nearby), and for about 3 minutes, the cheers that occur in the venue and the sound of other instruments that progress without rhythm make the depth and three-dimensionality of the sound stand out more than on the ZEUS record, and the gaps between the sounds are even more pronounced. You can read it deeply. The beginning of "Eugene" is slightly cut off because it was the reverse point of the tape used, but perhaps because the recording position changed slightly due to this operation, the sound is more vivid and transparent than the previous one. Above all, the closeness and spaciousness of the performance sound is greatly improved. This pleasant effect further increases the sound collection in the mid to low range, making it possible to follow the movement of the drums and bass with even higher resolution sound, and Roger's whispers appear even closer. I can't get enough of it. The way the music explodes after the scream is a far cry from the ZEUS version, and you can follow its development, but the best part of listening is actually how the sound gradually tapers off from there towards the end. . Recorder 2 captures very vividly the musical transition as people move away from the scene after the tragedy, and this is a famous scene where you can see the perspective of performance expression, so please look forward to it. Please!! "Echoes" is also a perfect recording from the buzz of the venue full of anticipation before the performance and Roger's introduction to the song. The lyrics that were shown as the initial version of the lyrics at Hakone Aphrodite the previous year are sung here as a completed version, and here too the witty two-voice harmony and backing performance by Gilmore and Wright are clear. A high-quality sound image that can be heard clearly appears, and after that, remarkable special sounds that focus on the entire performance develop one after another. In the albatross scene, the sharp cry of the guitar is clearly captured as it penetrates and spreads inside the Tokyo Metropolitan Gymnasium, and the excitement of a synthesizer quietly rising from a distance and overlapping sonar sounds comes out in a real sound that makes your body tremble. It is. Even in the second half, the sound pattern repeats rising and falling, making the music undulate high and the flying figure pops out perfectly, guaranteeing that you will be able to enjoy a truly ecstatic listening experience. The encore “Sun Hymn” is recorded in the first uncut complete version in history, and the good sound quality stands out here as well. This is because, as you know, in this song, the sounds of each instrument are concentrated in the midrange, so if you record it in a mediocre manner, you will hear it as a lump of fluffy and unclear sounds. However, in this recording, you can hear each sound clearly enough to make many discoveries such as "Huh? Was this kind of sound being produced in a place like this?", and even the part where the tempo gradually increases in the middle of the song perfectly captures the musical exhilaration. I am. The ZEUS edition reached this peak and reached the disc aid at the point where the rhythm disappeared (* Around 5 minutes 22 seconds of this recording), but this recording starts from this point and ends at the end of the performance and beyond. Completely uncut recording for just over a minute (!!). In this first performance scene, the mysterious free approach of the slide guitar and organ shows an unknown development, and the unique and mysterious combination of sounds is revealed for the first time, and this song You will be amazed once again at its hidden multifaceted charm and possibilities. The recording continues for about a minute or so after the end of the song, and even the vivid atmosphere immediately after the performance, such as the howling sound of the stage microphone and the commotion in and around the venue, is recorded until the end of the disc. That's it! I'm surprised and excited to be able to examine and examine the performance from a completely different angle using a new treasured source of the performance that I only knew from the only sound source for a long time...This is an unofficial sound source. It's a joy that can only be experienced by those of us who chase after Floyd. Tokyo in 1972, and Hakone in 1971, which will be released this weekend, are huge topics, both of which are complete recordings for the first time in history, but in front of this historic excavation sound source. What suddenly crosses my mind is the realization that we still have a lot to learn about Floyd's Japan tour. Even a fairly thick science history book may be nothing more than an enlarged version of an encyclopedia, but even if you take a quick look at the recorded content and sound quality as a whole, or pay close attention to the microscopic details of the structure, these two albums boast the highest quality. The two Supernova titles are first-class research materials that can be described as scriptures full of unknown surprises. This weekend, please get your hands on the two great excavated sound sources of this historical achievement and fully fill in the blanks of 45 years. Both are the first ever appearance and complete recording of all songs that the overall picture was unresolved, so it was a wonderful weekend that perfectly filled in the big fragments that Floyd left in Japan in the early 1970s, and the best that continues to strongly stimulate the thirst for knowledge. This is sure to be a summer challenge. Live at Tokyo Taiikukan, Tokyo, Japan 7th March 1972 (from Original "New" Masters) Disc 1 (46:49) The Dark Side Of The Moon 1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise) 6. The Great Gig In The Sky 7. Money 8. Us And Them 9. Any Color You Like 10. Brain Damage 11. Eclipse Disc 2 (57:19) 1. One Of These Days 2. Careful With That Ax, Eugene 3. Echoes 4. Set The Controls For The Heart Of The Sun