Pink Floyd/London,UK 8.9.1980

The final performance of the European leg held in London, UK on August 9, 1980 will appear for the first time!As you know, the final performance on the 9th and the previous day on the 8th were filmed with professional shots, You may be familiar with the video that is a mix of the first half of the show on the day (1st set) and the second half of the show on the 9th (2nd set). This scene was released in the past under the video title “THE WALL PERFORMED LIVE DEFINITIVE EDITION”, and it has long been a standard title among fans. Nowadays, the same thing can be seen on EARLS COURT 1980 from a different generation, so the image is probably burned into your mind. As for the CD title, there are several sound board sound sources from other labels (*However, like the pro shot video, most of them seem to be a mix of the 8th and 9th), so we are tracking Floyd to the unofficial sound source. If you are an avid fan, you probably know the general outline of this performance. So, what is new about this work that appears this time? However, the reason is that this recording is the super-excellent audience recording version that appears for the first time!!The audience recording (*hereinafter referred to as AUD) of this day includes such professional shot footage and sound board leaked sound sources (*hereinafter, SBD), it was overlooked and has never been made into a disc. Therefore, this is the first time in history that it will be released on CD, but since there are already professional shot videos and SBD recordings, many people may be wondering, “Why is it an AUD version now?” The sound quality of this AUD recording, which has not been noticed by people for 35 years, is actually exceptionally good, and even as a real documentary of the final day of THE WALL in 1980, it is a super superb sound source of a level that probably will not exist any more. is. Its hard, thick, and clear sound strongly stimulates the five senses of the listener, and easily surpasses the quality of AUD recordings that are usually associated with it. In particular, the rhythm section stands out with a massive sound image in the mid-to-low range, where everyone can feel the front row sound where the live sound hits you directly, and the guitar and keyboard tones are also glossy, so the sound is very good. The outline of the sound stands out, and the vocals are sure to be astounded by the thickness and clarity of the core. In addition, the overwhelming clarity of the heat from the audience seat side, which provides a sense of realism that SBD recording does not have, is maintained until the end of the disc, so some people will probably get the impression that the sound image is similar to that of modern ear monitor matrices. Probably a lot. The only thing that can be said to be difficult is the occasional loud cheers from the audience on the left channel (of course, they are not making a noise all the time), but even though I was in the midst of the excitement in the venue, it was hard to believe. The pleasure of hearing sharp performances colliding one after another with high resolution is the biggest topic of this AUD recording!! After all, it becomes evident from the moment the first note of “In The Flesh?” sounds. Therefore, you will be amazed at how the instantaneous and superbly transparent sound spreads throughout the entire range. Singing voices collide with powerful sounds, and the roar of fighter jets is captured with a sharp close-up sound that has the sense of realism that can only be achieved with AUD recording. The thin sound of “The Thin Ice” has a sound with a clear outline that can be mistaken for an SBD, and the ensemble that starts in the middle has a deep bass that is almost impossible to achieve with an SBD that takes into account the sound image balance. The sound is not distorted. In “Another Brick – Part 2”, Gilmore’s guitar clearly pops out, but it is supported by a heavy backing in the mid to low range, allowing you to firmly grasp the movement and composition of the entire performance. This is a scene where you will realize that the sounds that you are used to hearing from SBD are difficult to grasp as a whole because the individual sounds are too close together. “Mother” also captures the acoustic guitar and singing resonating with a strong, transparent sound with close-up sound. The keyboard that plays in the back also records the color and luster of the tone, and the long guitar solo definitely makes you feel a big perspective in the sound. Similarly, the acoustic guitar in “Goodbye Blue Sky” is picked up so vividly that you can feel the vibration of the strings, and you should be able to feel the unusually high resolution for an AUD recording. The euphoric interplay of the chorus is also exquisite, and will make you feel even more strongly the expansion of imagination that was heard in the audience that day. “Young Lust” is characterized by the fact that it clearly picks up the bass movement that would be hard to hear in a normal AUD recording, and the accents in the song, such as the keyboard, the mid-chorus, and the sound of cymbals, are clearly visible. You can enjoy it. In “Don’t Leave Me Now,” you can enjoy the sound of SE’s breathing and strange singing that fills the space with a special sound, but this cannot be experienced with the SBD recording where the individual sounds are too close together. The expansion of the sound and the residual empathy are alive and well here in a natural way. “The Last Few Bricks” provokes the listener with its dynamic movement and explosive power in the bass range. You’ll notice that the sound changes of the thick rhythm, which gives you a sense of the skeleton, moving and stopping, are delivered with the clarity that is unique to AUD sound, and the spatiality that resonates in the high register is outstandingly well expressed. “Goodbye Cruel World” is sure to amaze the audience as they were able to catch that thin melody line with such clarity and deep sound. “Hey You” is characterized by recording the sound of the venue with the passenger lights on for a while before the start. However, it cuts out once after a while, and like many THE WALL titles, the performance begins with a cut-in at the beginning, but it is worth noting that the sound before the performance is included. “Nobody Home” has a beautiful spread of deep chords in the bass part of the piano, and the acoustic structure of the ensemble moving in the midrange and the swimming vocals is captured in a beautiful transparent sound. The echo of “(But I got nowhere to) fly to… fly to… fly to…” that comes out at 2 minutes and 40 seconds into the second half is also really three-dimensional, and the sound goes to the right in the hall like a stereo. Please pay attention to the fact that the movement to the left is also heard with special transparent sound. “Comfortably Numb” develops a guitar solo in a way that connects sounds unique to this day, but this AUD recording captures even the residual resonance of the sound, so it is different from the familiar professional shot footage and the familiar SBD. You will be able to fully enjoy a different listening experience. In “The Show Must Go On,” the charming ornamental notes and chorus that enliven the song shine with pure beauty, and the sound image that permeates the venue with its wide range of resonance is sure to make your heart flutter. On the other hand, in “In The Flesh”, the heavy sound explodes again, but it is nothing short of amazing that even the sound of Australia, which seems to have so much input, is not distorted at all. Moreover, this low center of gravity sound has a vivid sharpness, so the recording position and equipment used must have been the best match. “Run Like Hell” is characterized by the percussive hits that form the basis of the rhythm, each of which can be heard beautifully. The piano grace notes that gradually enter from around 4 minutes 55 seconds also shine brightly and sharply, creating an AUD sound that can be enjoyed at a high level with a sense of dynamism framed by the rhythm and grace notes. In “Waiting For The Worms,” ​​the bass and treble blend in an ideal way, and you’ll notice that the rhythm, which came to your ears as a slightly uneven image on SBD, now sounds natural and dynamic. Probably. In the scene where the wall collapses in “The Trial”, I think you will be surprised by the amazing sound image that even modern movie theaters and 5.1ch surround sound can provide. It seems that the two left and right channels were able to pick up the sound so well, and this is a scene where you can deeply feel the vividness of the documentary sound. Many AUD recording titles of THE WALL have been released by this label and other labels, but it is quite a rare case that you can listen to ultra-high resolution performance sound while maintaining the sense of presence from the audience seats. It’s safe to say that. Of course, SBD recording has the closeness and clarity of sound that only SBD can produce, and professional shot footage has a great visual advantage, but this recording has the charm of performance sounds that can only be produced with AUD sound. And, because it is an AUD recording, it will tell you the documentary nature of the show that you can go deep into with its exceptional sound quality. Finally, for about 6 seconds from 1 minute 21 seconds to 27 seconds of “Young Lust”, the left channel sound is rubbed and weakened due to the deterioration of the master tape. It was possible to repair it with a patch, but since the recorded sound is so beautiful, I avoided doing anything artificial, and left traces of it as it was in the original. In addition, the overall sound image adjustment is limited to strict pitch correction and noise removal, so you can enjoy the power of the recorded original sound directly without excessive equalization. This weekend, please enjoy this work and enjoy the end of Floyd’s 1980s from the audience seats. Because this is a performance that is familiar with professional shot footage and SBD sound source, this debut AUD recording is sure to add a harsh slap to that familiar feeling and awaken an unknown excitement!! Live at Earls Court, London, UK 9th August 1980 TRULY PERFECT SOUND Disc 1(54:13) 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(53:22) 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