Pink Floyd/Illinois, USA 1973

We’ve finally done it! The long-awaited sound source that debuted on the label will be released! On March 7, 1973, the 4th day of the US tour, the Chicago performance, which coincided with the release of the album “THE DARK SIDE OF THE MOON”, is the best. This is a fascinating new work recorded with AUD recording! I’m sure fans can’t stand the fact that this is the first sound source to appear on the label, and the sound is this good in 1973, but this label is also happy to be able to deliver a fruitful title from 1973 for the first time in a while. It’s soaring! This is because, although Sigma has released many Floyd name titles, the one with the lowest number of releases was actually the 1973 title. Even if you look around Sigma’s back catalog of over 130 records, there are only 4 titles, and even if you include the predecessor Sirene edition, there are only about 10 titles. The main reason for this is that the number of existing sound sources from 1973 is small compared to those from other years, and there are few good quality recordings that are worthy of being released as presses from this small number of sound sources. Of course, this day’s show itself had previously seen the light of day on another label under the title “ILLUSIONS OF CHILDHOOD’S END (Highland HL219/220),” but due to its mediocre sound quality, the label was reluctant to release it. You can probably guess what happened. But on the other hand, this is also proof that all the titles released by Sigma in 1973 were filled with excellent sound quality. “MARYLAND 1973 (Sigma 57)” and “BOSTON 1973 (Sigma 73)” are titles that embody this, and “YEESHKUL (Sigma 80)”, whose sound quality, performance, and recording person are outstanding. )’ has surpassed the 1973 frame and is one of the best sound quality discs among all Sigma titles (*and the best / strange edition!). This work is a new work that is on par with the 1973 back titles of such a small number of elites, and we are able to deliver it because it has the potential to fully meet those expectations!! The source of this work is It was recently published on the internet, and is based on a 24bit/96kHz digital conversion of a 1st Gen cassette tape (*TDK SA90 / manufactured from 1982 to 1984). The conversion was carefully done using a high-quality Technics 3-head deck with excellent running stability and a Focusrite audio interface, and there are cuts between songs here and there to conserve remaining tape. Even if it can’t be helped, the sound contained the instantaneous power of the original tough and fresh sound of the master (*probably reel tape) in the best possible condition. This alone would have been high enough, but this is a label that pays particular attention to sound quality. When I listened closely, I found traces of noise typical of analog and a lack of attention to detail in the sound image, so I used the label’s own high-end equipment to perform sound image and pitch correction and thorough noise removal to the extent that it did not affect the original sound, and released it to the public. This creates a more accurate sound image than the original sound. In addition to the good sound quality, the content of this show is also attractive, including a very good version of the rare “Childhood’s End” that was only played a few times during the March 1973 tour. , you can’t miss that the opening of the show starts with “Echoes”. After this, “Childhood’s End” was changed to “Taiyou Hymn” at the end of the set, “Echoes” was moved to the end of the first half of the show, and “Obscured By Clouds” is the standard opening, so this title is Another big highlight is that you can experience rare programs from the very early stages of the 1973 tour, when the sets were fluid!! Exceptionally, on March 14th, one week after the main performance, “Eugene” was the opening performance, and this was “BOSTON 1973″. (Sigma73)!) The show opens with “Echoes”, which seems to be the beginning of the 1973 spring tour, and the passionate echoes come from all directions with a deep and crystal clear sound. Although you can feel the hiss, you will be transfixed by the recorded sound, which is close and vivid. Also, from the beginning of the song, you’re probably thinking, “Oh?”, but interestingly, on this day, there was no side vocals from Rick, who functioned as a harmony, and it was a rare performance where Gilmore sang solo throughout the song. . In addition, the flow from the quiet scene after the albatross call to the final song is accompanied by an excitement that feels like the heartbeat of the song is directly entering your body, as the movement of the weak notes emitted by each instrument is almost perfectly captured. It’s a great listen. “Obscured By Clouds”, which was performed for the second time after yesterday’s premiere, opens with a bagpipe-like synth sound, and the guitar, which uses many long tones, gives off an image of scorching heat, like hot iron. However, he provokes the listener with his slowly dissolving facial expressions. In “When You’re In,” the overlapping guitar and synth jams intersect in a near dazzling sound, and the rich gradation of shades strongly stimulates the listener’s sensibilities. The fact that “Childhood’s End” is performed at this position exudes the atmosphere of spring 1973, but here, the melody and rhythm are pure beauty, with a wide range of sounds that allows you to feel the richness of the range. The way they respond is clearly captured. Normally, when you use multiple generators, the sound tends to be a little lighter and a bit more diffuse, but here, the damp organ tone that deepens the song’s idea, and most of all, the guitar (*especially from 5 minutes 56 seconds onwards). The reed part) has a clear outline and a weighty tone that gives you a sense of dynamism, allowing you to fully enjoy a performance that is both harsh and beautiful. Also, in the tuning scene before the start of the song, several phrases are played on a trial basis, which is also a bit worth listening to. “Eugene” is a music that leaves a dazzling afterimage in the listener’s hands on this day as well, and the tragedy of this day unfolds with the rich sound unique to 1st Generation. You can clearly feel the atmosphere and tension that exists between the sounds, and from the scream to the final song, the linear melody and rhythm from each instrument collide with each other, creating a sense of reverberation, and a wonderful musical driving force. Please enjoy the fascinating sounds you have picked up. The second half of the show is of course a reenactment of all the “Madness” songs. “Breathe” has a metallic guitar sound that appears closer than the expression recorded on the album, but the singing that goes along with it is close to the album version, and the performance has an enjoyable unbalanced feel. In “On The Run”, I don’t know if it’s due to a malfunction with the equipment or if it’s intentional, but for some reason on this day there was no automatic performance sound of the synth synchronized with the rhythm machine (it’s the one that makes a chirpy sound), and instead, It is an interesting scene unique to this day that there is a close-up of the advanced solo of SE and synth alone. In “Time”, the guitar sound stands out again, and Gilmore’s unique sharp reverberation creates a fascinating sound that echoes in a clear sound image. In particular, the solo in the middle, full of visual evocation power, is a must-listen for fans. In “The Great Gig In The Sky,” a powerful female chorus rises with a pleasant stretch in the high range, but you can also feel the high-quality punch in the mid-bass movement that moves the music behind it. It’s one song. The piano that resonates in the introduction section is also recorded with a sparkling and fresh sound, and the richness of the range typical of the 1st generation spreads throughout your ears. “Money” progresses with a funky sound without a saxophone, typical of the spring of 1973, but on the other hand, the guitar solo develops a fairly aggressive approach, and a dense and unique concerto dialogue pops out with a superb sound. Similarly, there is no saxophone in “Us And Them,” and the middle section is led by the organ, and the female chorus joins in at key points, adding depth and beauty to the performance. You will be able to really feel it. “Brain Damage” has a momentary rewind due to the addition of sound at 2 minutes and 16 seconds, and there is a few seconds of sound skipping at 50 seconds, but this was due to the fact that it was transferred from the master to the 1st generation used in this work. It’s probably a sign of a copying error. I thought about partially compensating and digitally restoring it from another source, but the difference in sound quality is huge, so I didn’t do anything strange here, and I recorded it as it was originally in order to take advantage of the high quality sound image and vividness of the 1st generation. . In the encore song “One Of These Days,” the transparent sound that mixes dissonance and freaky sounds reports the terrible “tragedy” of this day, and it doesn’t depend on the lyrics. , it is a masterpiece that shows Floyd’s sharp playing ability, making you feel the charm between the lines of sound. For die-hard Floyd fans, the most popular performance related to “Madness” is the prototype version performed on the European tour in the winter of 1972, the previous year, but this March 1973, the month the album was released. The greatest appeal of “Madness” is that it allows you to enjoy the completed form that has been arrived at in an energetic and ongoing expression. However, on the other hand, there was a strong impression that several songs from the previous work “Kumo no Kage” that were set in the first half of the show stood out, and the contrast between the songs that had been played the previous year and the songs that were newly incorporated into the repertoire was lively. The charm of this period also oozes out in the points that are highlighted. Please try the 1973 version of Madness, which has surprisingly few releases. The joy of reviving the show just before the historic album was born with the special sound of the 1st generation is the joy of being able to listen to the songs I knew so well, and above all, listening to the bell of “Eclipse” at the end of the show. When it’s finished, I’m sure that the realization that that album was about to reach its peak at this time will reverberate in your heart. This work is the latest 1973 title that brings to mind the passionate Floyd sound of that era when the album was released! Live at International Amphitheater, Chicago, Illinois, USA 7th March 1973 TRULY AMAZING/PERFECT SOUND Disc 1(58:56) 1. Echoes 2. Obscured By Clouds 3. When You’re In 4. Childhood’s End 5. Careful With That Ax, Eugene Disc 2(57:24) 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 12. One Of These Days