Pink Floyd/Germany 2.17.1981

The first appearance of Floyd’s sound source continues!! Pink is becoming more and more exciting with the release of “HAKONE APHRODITE 1971: Remastered & Restored”, a remastered and restored version of Hakone Aphrodite’s newly excavated treasured sound source that saw the light of day for the first time in 44 years. As for Floyd, this week we have one more title, the Dortmund performance on February 17th, which did not see the light of day for 34 years after the 1981 THE WALL tour, will be appearing for the first time on the press edition!! This performance is THE WALL’s 81 This is the 5th day of the 8-day performance in Dortmund, West Germany, which was held for 8 consecutive days starting from February 13th, the first day of the 2019 tour.The 3rd day of this consecutive performance, “DORTMUND 1981 3RD NIGHT”, will be held worldwide in August this summer. It made its first appearance and caused a stir among many fans with its excellent performance and exceptional sound quality. In fact, just like this third day, there were no pre-releases on the 17th and 5th days of recording this work, and this was an unexpected air pocket of the Dortmund series of performances that only those in the know knew. This week, this title will be born as the world’s first title! It is surprising that it was not made into a disc at all for 34 years, but what is even more surprising is its sound quality. The sound is clearer and closer than the aforementioned 3rd day “DORTMUND 1981 3RD NIGHT”, and it also has the nice advantage of being uncut recorded, so it’s irresistible!! There is a sense of tension that can only be felt on the middle day of consecutive performances. The performance, which was well-resolved and filled with passion, definitely had a different charm than other Dortmund performances. ), and just like the 3rd day title that came out this summer, this title is sure to make avid fans groan at the arrival of a new master quality sound source. It should also be added that the basic sound quality of this first appearance audience recording obtained this time was excellent, and the equalization was limited to pitch correction, slight sound image adjustment, and noise removal. We did not do any work that would change the original sound image, such as adding excessive echo components or simply increasing the sound pressure, and instead reproduced the sound of the recorded original sound that fully absorbed the atmosphere of the venue on the day. Using limited-edition digital technology, we have achieved the best sound that has been revived without leaving a single note 34 years later. The vivid sound image of the day appears in any playback environment, and the title boasts a natural finish that is faithful to the original sound!! The recording includes the MC before the performance, and from the pyro’s roar to “In The Flesh?”, the dynamic sound that will suddenly take your breath away. There is only a small scene in the middle of this song where the overall sound output becomes weak and unstable due to tape aging, but this is the only part that can be said to be a problem with the sound image of this work. , From the next “The Thin Ice” onwards, a very stable and high quality sound image is maintained until the end of the disc. In “Mother”, the acoustic sound and Roger’s singing voice stand out with a glossy sound, and the guitar that comes in midway through has a strong melody with a highly transparent tone that will make your heart flutter. Similarly, the chorus and guitar arpeggio in “Goodbye Blue Sky” have a wonderful sense of intertwining, and here you have the pleasure of being close to the swaying melody. In “Young Lust”, Gilmore’s passionate singing and guitar singing are recorded with a vivid sound, and the electric piano in the second half appears with a core sound, giving the song a crisp and tight expression. is. “One Of My Turns” also captures the changing image between the first half and the second half, and you will be able to grasp the rhythm and melody’s ups and downs of song expression with a certain listening comfort. Another feature of this recording, although it doesn’t get much attention, is that it captures the malaise-filled sonic image of “Don’t Leave Me Now” very vividly, and you can’t miss the fact that you can carefully feel the depth of the chiseled sound. There are no topics. In “The Last Few Bricks,” you’ll be thrilled to see the contrasting expressions that emerge from the strengths and weaknesses of the song structure spread across the entire range. In particular, from 2 minutes 41 seconds onwards, the energy radiated by the enthusiastic performance reaches your ears with a wonderful sound, so be sure to check it out. “Goodbye Cruel World” seems to have the entire venue holding its breath and watching Roger sing from the gap in the last block, and it is interesting that the area around the recording machine and the entire venue are strangely quiet. There is a similar impression in Dortmund performances on other days, but thanks to that, the charm of Shizune spreads throughout the range. “Hey You”, which starts with the electric light on during the interval, is a cut-in, but this is something that can’t be helped with any THE WALL recording. However, the sound is still good, and the sound image with good visibility and a good sense of distance remains unchanged on disc 2. “Nobody Home” has a harmonious and transparent sound with a fresh piano and Roger’s singing voice.The echo in the middle and the SE sound in the second half are also picked up perfectly, making it a song that feels deep and satisfying to listen to even though it is a small song. I am. “Comfortably Numb” was performed well on this day, and when Gilmore becomes the singing part, there is applause, and his performance with singing and guitar is very noticeable. In particular, the powerful melody singing in the second half of the guitar solo has a sparkle that is unique to this day, and it is no exaggeration to say that the joy of being able to enjoy this high-quality sound that stimulates the five senses is the highlight of this entire work. “The Show Must Go On” has a distinctive polyphonic chorus that gently envelops the listener with a glossy, plump sound, but in “In The Flesh,” Roger sings in awe as if to contrast this. The charm of this album explodes, and the sound image that penetrates the wall of massive sound is sure to make your hands sweat. “Run Like Hell” started with the MC on this day as well, with the audience applauding, but perhaps due to a bad timing, the song started moving without getting as much applause as on other days. The differences in the reactions of the audience are also interesting to listen to. However, the guitar in the song sings boldly, and the keyboard that plays the avant-garde melody afterwards has a mysterious flavor that is even more mysterious than the performance on other days.The brilliant performance will spread to your ears with a special sound. Please look forward to it. “Waiting For The Worms” also has a slow tempo with a wide sense of scale that oozes out from the sound image, and you can enjoy the fascinating sound of the agitation continuing endlessly in the heavy song. Of course, in “The Trial”, the eerie flow of the wall leading up to its collapse and the roar of the wall collapsing appear with plenty of realism, and you can enjoy the scene that concludes the drama of this day with sharp sound. All THE WALL performances have a somewhat similar impression, and it is natural to wonder what the content of the performance will be like since it is almost the middle of the eight consecutive nights of performances. Floyd doesn’t need to worry about that. As I wrote about “The Last Few Bricks,” “Comfortably Numb,” and “Run Like Hell,” there is a sense of discovery and excitement that comes from including such passionate performances on performances that have never seen the light of day before. This is a big attraction of this recording, and if you compare it with “DORTMUND 1981 3RD NIGHT” from the third day, you can see that the concentration of the performance has changed and improved day by day.This work conveys with high quality sound. It will help you. Just 10 years after Hakone Aphrodite in 1971, the sound source first appeared in 1981, which was also on THE WALL. Both are great excavated sound sources for the first time in 44 years and the first in 34 years, so be sure to get this work along with “HAKONE APHRODITE 1971: Remastered & Restored” this weekend and spend a long autumn night filled with Floyd. I think so. When compared, the spotlight tends to be on the Hakone sound source, but there is no doubt that this work is also a full-fledged 1981 title that is full of power to make you listen, so please take this opportunity to pick it up and listen to its true potential. Check it out!! Westfalenhalle, Dortmund, Germany 17th February 1981 PERFECT SOUND Disc 1(54:48) 1. MC Intro 2. In The Flesh? 3. The Thin Ice 4. Another Brick In The Wall Part 1 5. The Happiest Days Of Our Lives 6. Another Brick In The Wall Part 2 7. Mother 8. Goodbye Blue Sky 9. Empty Spaces 10. What Shall We Do Now? 11. Young Lust 12. One Of My Turns 13. Don’t Leave Me Now 14. Another Brick In The Wall Part 3 15. The Last Few Bricks 16. Goodbye Cruel World Disc 2(53:18) 1. Hey You 2. Is There Anybody Out There? 3. Nobody Home 4. Vera 5. Bring The Boys Back Home 6. Comfortably Numb 7. The Show Must Go On 8. MC Intro 9. In The Flesh 10. Run Like Hell 11. Waiting For The Worms 12. Stop 13. The Trial 14. Outside The Wall