Pink Floyd/Germany 2.18.1981 Upgrade

This week, which marks the 35th anniversary of “Dortmund Week,” there is one more title, and the same performance on a different day will be revived using a new master!! This title was released on February 18, 1981, all 8 performances in Dortmund, Germany. This is the 6th performance of the album, and it is the date of the performance that can be heard on the previously released versions such as “THE SIXTH GERMAN SHOW” and “DORTMUND TRIAL Remastered Version”. If you are an avid fan, you may think, “Ah, that’s it”, but this latest version that appears this time has been recorded by independently obtaining a new master different from those previously released editions. , it is a new 6th sound source that can be said to be the “Recorder 2” of this day!!Moreover, interestingly, this recording by a different master has a rare sound image where there is almost no sign of people or noisy strange voices around the recorder. (It is impossible to say for certain, but it may be that the recorder was placed in a different position than the general audience seats, such as the VIP seats), and this can be said to be a rare sound image among all THE WALL sound sources. . However, the fact that there are almost no signs of people around can be said to be a novel source that allows you to concentrate on the performance and the music, and this recording has a clean and neat sound that is different from the noisy sound that can be heard on the previous releases. Listening comfort is the biggest advantage. For this reason, there is no unsophisticated equalization in this work, only the removal of the slight analog noise that occurred during playback and strict pitch adjustment, so the new master approaches the performance from a step back perspective. The finished product does not disappoint, allowing you to perfectly enjoy the original sound! The only part of the opening MC speech by Willi Tomczyk, up to 1 minute 34 seconds, has been supplemented from the previously released disc (* This is because only this part was lost in the new master), and after that it is connected without any discomfort by careful treatment, and beyond that is a flood of upper sounds by the new master until the end of the disc. The sound image of “In The Flesh?” suddenly changes at 00 minutes and 10 seconds in the beginning (*Did the recorder change the direction of the microphone or the position of the recorder due to the excessive roar?), but even after that, the performance could be heard clearly. You can see that even the weakest sounds are picked up beautifully in a stable sound image. The flow of “A nother Brick…Part 1-2” is so transparent that you can hear even the faintest sounds, and the rhythm of the musical movement that becomes noticeable from the middle of “The Happiest Days…” is appealing. The increasing dynamics (*and the inventive tones and beautiful tones of the guitar and organ solo that closes from the middle of “Part 2”) create the familiar sound image of each previously released album. It will be updated, so be sure to check it out. In “Mother”, the guitar solo in the middle resounds with a beautiful sound while maintaining a suitable distance, and you can feel the new master’s ability in the way the linear melody and singing voice interfere with each other dazzlingly. “Goodbye Blue Sky” is sure to scorch you as the swaying melody line of the chorus and arpeggio is sublimely enveloped by the sound of the organ, and “One Of My Turns” features Roger’s sudden changes between the first half and the second half. The singing expressions are released in a stoic sound image that is completely different from the previous sounds, and you can enjoy the energetic performance from an increasingly calm position. At the same time, because of this quiet sound image, it is possible to enjoy the pleasure of closely following the sudden changes in expression that are noticeable in “The Last Few Bricks” more than on the previously released version. And the special topic that can be said to be the biggest of this new master is at the beginning of Disc 2, and in this recording, “Hey You” is not cut in, but the recording starts before the performance begins. In other words, the guitar arpeggio at the beginning is recorded uncut from the first note, and this can be said to be an extremely rare example among all THE WALL sound sources. I don’t know if the recorder happened to be running, or if it was because the person recording the recorder had seen THE WALL performance more than once and knew the flow of the show. It starts suddenly, so if you don’t know the production, you would normally stop the recorder during the interval), in any case, this also increases the impact of the new master even more, and it surpasses the already released version by one or two steps. There is no doubt that this is a factor in leading the way. Of course, the sound with good visibility continues into the second half, and for example, the depth of the expression and the beauty of the melody as seen in “Nobody Home” and “Vera” come out even more vividly, and “Bring The anthem that comes out in the first half of “The Boys Back Home” also has a really vivid tone with a polyphonic part. In addition, since even the faintest sounds are picked up in charming songs like “The Show Must Go On,” you can follow the various changes in tone and facial expressions in detail, and the musical explosiveness of “Run Like Hell” is high. (*And the tough and dense sound image) will make you realize the new master’s ability once again. “Waiting For The Worms” also has a rich sound with a dynamic performance that moves in a wide range and Roger’s aggressive singing, but when this explodes with full weight in “The Trial”, you can feel the vibrations of the floor. It will be released with a variety of vivid on-site sounds, so please pay attention to it. Of the 8 performances in Dortmund that began in 1981, this 6th performance has finally entered the climax, and in terms of the national high school baseball tournament, it is the quarterfinals of the summer Koshien, which is the most watched by fans. I think it can be likened to a person heading towards the peak, which is the final day, during the most difficult period both physically and mentally. It’s easier to make mistakes than usual, and that’s why your ability is tested, and you get a real glimpse of your daily accomplishments and true self.But when you consider the performance on the 6th day from that perspective, you can’t help but feel the calmness of this new master. The sound image is perfect. It is very meaningful to consider it in the midst of the hustle and bustle of the surroundings, as with the previous releases, but this sound image, which takes a step back and coolly focuses on the performance and music, It will definitely increase the amount of musical information about the new Dortmund 6th day, which I had not noticed before amidst the hustle and bustle. It can be said that this is just like the Koshien baseball players, who take on the challenge of music while controlling their performance and themselves. Westfalenhalle, Dortmund, Germany 18th February 1981 TRULY PERFECT SOUND Disc 1(56:52) 01. MC Intro 02. In The Flesh? 03. The Thin Ice 04. Another Brick In The Wall Part 1 05. The Happiest Days Of Our Lives 06. Another Brick In The Wall Part 2 07. Mother 08. Goodbye Blue Sky 09. 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(54:01) 01. Hey You 02. Is There Anybody Out There? 03. Nobody Home 04. Vera 05. Bring The Boys Back Home 06. Comfortably Numb 07. The Show Must Go On 08. MC Intro 09. In The Flesh 10. Run Like Hell 11. Waiting For The Worms 12. Stop 13. The Trial 14. Outside The Wall