Paul McCartney/Tokyo,Japan 10.30.2018 Soundcheck IEM Rec Ver

From the Freshen Up Japan Tour, the shocking first appearance of the two and a half hour rehearsal sound source held on October 30th, the day before the Tokyo Dome performance! ! Moreover, amazingly high sound quality! ! As was the case when he came to Japan last year, this time too Paul rented a venue before the start of the Japan tour and conducted a careful rehearsal just before the actual performance. It was a closed sound check that was not open to the public, unlike the sound check that normally takes place before a live performance. The taper from the masterpiece “CLOSED SOUNDCHECK AT BUDOKAN 2017”, which captured the sound check at Budokan last year, once again showed off his amazing work. This album was an epoch-making work that solved the dilemma of undefined sound quality and rough textures that were common with sound checks that were intercepted through ear monitors, and was recorded in stereo. Not only was it a valuable content that revealed the sound check process that would normally be impossible to get a glimpse of, but it was also a finished product that everyone from beginners to enthusiasts could enjoy. And this time too, we caught the heated rehearsal that took place the day before the start of the Japan tour with great sound quality! Unlike last year’s Budokan rehearsal, which was a special gig, this time it was held at a rented venue ahead of the regular show, so to speak, it was the final rehearsal. Although the tour had already started in September, he is still a true professional as he never fails to review his lessons. Therefore, I would like to introduce you to a more relaxing version than the actual performance, but still a lot of fun to listen to, where you can hear tight performances throughout. Of the rehearsals recorded on the two CDs, the first 40 minutes of the first one continues with the setting and performance by the band members before Paul arrives at the venue. It’s like having everything ready before the boss arrives. Of course, even though Paul is absent, it is not only valuable as a document, but also has many interesting scenes unique to rehearsals. In past rehearsal recordings, there was a scene where we played the Beatles’ original version as a review material and then confirmed it, but here, after playing the intro of “A Hard Day’s Night”, keyboardist Wicks played the same song. I’m reviewing the interlude. Furthermore, on track 8, he even practiced the phrase “NEW”, which was not played on this tour. So even if it’s not in your repertoire, you can always play it. An even more interesting scene appears in this track 8 sequence. In the past, closed sound check recordings from Japanese performances have captured band members playing phrases such as Led Zeppelin’s “When The Levee Breaks” and Queen’s “Under Pressure,” but this time it was much more intense. You won’t want to miss it because there will be a scene where you play the song with your fingertips. It’s about 30 seconds from 1:05 on track 8, a phrase played by Rusty, who was checking out the gut guitar he used in “My Valentine.” It turned out to be a line from “Underture” from The Who’s album “TOMMY”. This is a scene that will make music enthusiasts grin even more than the ZEP and Queen numbers mentioned above. At the same time, it can also be said to be a valuable scene that proves that they too love music. Speaking of this tour, the new change in Paul’s live sound with the addition of a three-man horn team has been a hot topic, but the jam that was held only by the band members before Paul appeared. They also participated. When the saxophone is added to the minor-style instrumental jam, it instantly transforms into a moody and jazzy performance. It creates such an atmosphere that it transforms from just an instrumental jam into a song. In this way, there are many things to listen to even in the scene before Paul joins. Paul’s appearance started with “Matchbox” as if it were a sound check. What is noteworthy is that the previous jam suddenly evolved into a wide and rich stereo sound. This natural stereo feeling was achieved by the sound source provider using unique methods and equipment, dispelling the impression that in-ear sound sources are monaural and lack sharp sound quality. Last year’s “CLOSED SOUNDCHECK AT BUDOKAN 2017” had already achieved unique stereo sound quality, but this time we promise an ultra-high quality sound source with a completely restored dynamic range and a natural stereo feeling. The stereo sound has an even more vivid effect in songs where the horn group joins Paul’s backing. “Letting Go,” which has been updated with their participation, features a vivid yet overwhelming horn sound. Furthermore, Abe’s drumming is also captured with a powerful balance throughout. Both instruments are often suppressed and arranged in broadcast sound sources, so this rawness is intense. Among them, the fact that the sound of Abe’s bass drum was captured at a high volume without becoming saturated proves the splendid ability of the backing band. Basically, it is a final confirmation rehearsal for the first day of the Japan tour the next day, but when you enter the second disc, there is a repertoire that attracts attention, “I Don’t Know”. The album “EGYPT STATION” has a strong impression of the catchy sound of the songs released as singles, but the album as a whole is dominated by a calm tone like this song. In fact, “I Don’t Know” is also a calm song that slowly guides the listener at the beginning of the album, but because of that, it is unlikely to be played on stage. Paul and the band not only let you hear such great songs with a high degree of perfection here, but you can also enjoy them with wonderful stereo sound. It was later performed in front of a VIP audience at the sound check on the second day at Tokyo Dome, but it is frustrating that it has not yet been performed on stage. More than that, I was disappointed that we couldn’t perform the live performance of “Back In Brazil,” which features the repeated Japanese “Ichiban!”, but we replaced it with “Come On To Me.” The repeated chanting of “Ichiban!”, which was added as an arrangement for Japan in the intro, has already been incorporated at this point. What’s interesting is that it seems like repeating “Ichiban!” has become fun, even after Paul has finished checking out the acoustic “From Me To You” and Paul’s sung “Here Today.” I was doing it. This is a really fun scene. “From Me To You” is a Beatle classic that was the highlight of this tour, but here it is played with a different arrangement to make it seem like a rehearsal. This is a masterpiece performance in which the rhythm and atmosphere of a chindon shop are combined, and instead of Paul singing, Wicks plays the melody on a harmonica. In the past, the radio program “OOBU JOOBU” released a number of performances in which Paul and the band playfully changed the arrangement of the repertoire during rehearsals from 1991 to 1993, but this is the 2018 version. Up to this point, there have been many relaxed scenes that seem like rehearsals in a good way, but after the full band “Lady Madonna”, the heated performance just like the real one is about to unfold. However, unlike the actual performance, it is a rehearsal where all the stage sets are not in operation, so of course there is no explosion production in “Live and Let Die”. It’s fun to see Paul use this to his advantage and imitate the explosion sound with his mouth. Furthermore, after finishing “Helter Skelter”, it rushes into an intense jam with the same momentum, but the guitars of Rusty and Brian each ring vividly in the stereo. Above all, the overall balance of the band’s sound is well put together, allowing you to enjoy the “music” in the name of rehearsal without feeling the lack of dynamism or discomfort that often occurs when multiple earphone sound sources are arranged into a matrix. Sho. And at the end, it was hard to believe that it was a rehearsal, and the engine was running at full throttle, and during “The End”, the momentum was so strong that the timing of returning from the drum solo was disrupted. The closing jam that concludes the song has plenty of room, and it’s great that Paul, who is in the mood, decides the line like a DJ, “See you tomorrow at Tokyo Dome, and good luck!” A sound documentary that is worth listening to and shows how enthusiastic Paul was about this Japan tour! ★Complete recording disc that simultaneously catches and matrixes multiple outgoing waves ★Demodulates monaural sources to real stereo using proprietary equipment ★Soundboard-level ultra-high quality sound source with fully restored dynamic range Tokyo Dome, Tokyo, Japan 30th October 2018 (from Original Masters) Original In-Ear Monitor Recording (Stereo) Disc 1 (75:48) Instrumental Soundcheck 1. Soundcheck 2. A Hard Day’s Night 3. Come On to Me 4. Fuh You 5. Something 6. Saxophone / Guitars / Drums 7. Drums (Come On to Me) 8. Guitars / Drums / Keyboards 9. Instrumental Jam With Vocals 10. Matchbox 11. Honey Don ‘t 12. Come On to Me (Intro) 13. Come On to Me 14. Letting Go 15. Who Cares (Intro) 16. Who Cares 17. Come On to Me 18. A Hard Day’s Night 19. My Valentine Disc 2 (74:36) The horns are recorded with a large balance, making it very impressive! 1. Nineteen Hundred and Eighty-Five 2. Maybe I’m Amazed 3. I Don’t Know 4. I Don’t Know 5. I’ve Just Seen A Face 6. From Me to You (Instrumental) 7. From Me to You 8. Come On to Me (Intro) 9. Come On to Me (Intro) 10. Guitar Session 11. Blackbird 12. Here Today / Come On to Me (Intro) / Paul talks (about tomorrow’s live performance) 13. Lady Madonna “My tempo!” 14. Fuh You 15. Ob-La-Di, Ob-La-Da 16. Let It Be At the end “It’s Christmas!” 17 . Live and Let Die 18. Live and Let Die Jam 19. Live and Let Die Jam 20. Sgt Pepper’s Lonely Hearts Club Band (Reprise) (Intro) 21. Sgt Pepper’s Lonely Hearts Club Band (Reprise) 22. Helter Skelter 23. Helter Skelter (Intro) 24. Helter Skelter Jam 25. Golden Slumbers 26. Carry That Weight 27. The End 28. Jam Finale ★Paul’s happy words It also has a great atmosphere and closes this wonderful piece.