Pink Floyd/NY,USA 2.25.1980

A surprising new sound source will be released for the first time on the label!! This is THE WALL performance on February 25, 1980, the second day at the Nassau Coliseum in the United States, and it is a special AUD recording, and it has been released for about 36 years. It is an amazing sound source that was unknown!! Speaking of Nassau Coliseum 5DAYS in February 1980, as you know, it is a performance that took place quite early in the first year of THE WALL performance. The first performance location was Sports Arena 6DAYS in California, USA, but even including the rehearsals before that, this day was only the 9th since that large-scale show was released, and it can be said to be the first performance day. By the way, the title that can be heard on this second day of Nassau is known as one of the 6-disc box sets called “TEARING DOWN THE COLISEUM WALL” released around 2011, and the others are privately made CDs and unbooted CDs. There are about three sound sources (different sources from the same day) here and there. Naturally, this performance was never released, and despite the existence of such a high-quality recording of the early performance in 1980, it has not been widely distributed as a major bootleg title for 36 years. It would be an incredible oversight not to have done so. And the sound is truly exceptional. There are many AUD recordings of THE WALL performances, but there are almost no examples where the earliest sound source, which is only the 9th performance, can be enjoyed with such outstanding and excellent sound. After doing a little research, it seems that the source for this work is a clone of the master tape owned by the recorder that was later directly transferred to DAT, and it seems to be the 1st Gen of the generation, but the vividness of the sound image is amazing. The attack feeling of the tough tone left behind has a unique A-class listening experience. (Although the same master is used for the aforementioned “TEARING DOWN THE COLISEUM WALL,” the difference in sound quality due to the difference in generation is obvious.) Moreover, the fact that it is an early 1980s sound source that perfectly captures the scene in the venue during the interval between the first and second parts of the show, and the sudden start of “Hey You” during the interval from the first note, makes this recording even more impressive. It makes it special. The only weak point is that there are slight cuts in 5 places due to tape changes or some kind of recording trouble, but each scene is short at about 2 seconds and the longest is about 10 seconds, and these missing scenes are not included in other scenes. It has been supplemented with what is thought to be the best from another source (*non-booted sound source) from the same day, of which three types have been confirmed to exist, and has been completely repaired so that you can listen to all scenes non-stop and seamlessly. However, since the main recording is outstanding, you may feel a slight difference in sound quality between these five scenes, but each supplementary scene is short and has been carefully treated by an elite engineer, so it is easy to connect. You probably won’t feel any discomfort. Rather, even the most ardent maniacs will be impressed by the fact that all of the amazing special recordings that have been virtually unknown for the past 36 years can be heard on the same day. Another feature of this recording is that the conversations between the recorder and those around him that can be heard between some songs are unique and have a sense of urgency. First of all, at the beginning of the disc, you can listen to the complete version of Gary Yudman’s pre-show speech, including notes on what to do during the performance. First of all, you can enjoy the excitement unique to this day with a humorous joke about Neil Young. Then, with “In The Flesh?”, the sound image suddenly expands from side to side, and a dynamic sound with good visibility pops out with the vivid power of the bass range. In “The Thin Ice,” you can clearly see that even quiet and weak sounds are picked up, and the sound contrast is vivid and the sound image stands out sharply. You’ll be mesmerized by the way the power of the range is displayed. “Mother” was missing due to a momentary tape change at 4 minutes 03 seconds of this master, but it has been compensated for with another source from the same day, so you can listen to it without compromising the flow of the song. Moreover, the restored sound is tough and has ultra-level resolution, and this is where the original power of this recording will finally be demonstrated. At around 00 minutes and 30 seconds into “Goodbye Blue Sky,” the sound of exploding fireworks that are thought to have been set off by the audience can be heard, resembling a nightmare that occurred at Madison Square Garden in July 1977 (= interrupting the performance and yelling) There is a sense of tension that reminds you of Roger’s appearance. Roger and the band are coolly proceeding with the show without being fazed by the explosive sound, but this documentary scene that makes the performers, organizers, and the entire audience nervous is also a highlight of this recording. “What Shall We Do Now” also had a momentary warp of the sound due to the tape change at 00 minutes 50 seconds in the master, but this was also completely compensated for with another source, resulting in a finish with no discomfort. It’s also worth checking out that Roger’s unusually cheerful MC enters after the performance. In “One Of My Turns,” the opening lines are close, and Roger’s voice reaches even closer to your ears, and the entrance of the ensemble with the narration and singing evokes the ultimate emotion and excitement, and “Don’ In “t Leave Me Now”, the “teacher’s” breath and Roger’s voice jump out in an almost strange way, and at this point, this recording increases to the power and resolution of almost SBD level. There was a sound skip due to the tape change around 2 minutes 43 seconds, but this is also connected with perfect compensation from other sources on the same day, so you will hardly feel any discomfort in the flow. The tough performance of “The Last Few Bricks” pops out massively, and the guitar delay and slight organ tone have a special luster, and “Goodbye Cruel World” is also sung with a slight change in the phrasing of “Goodbye”. A beautiful transparent sound reaches your ears, and the first half of the show ends with the best listening experience. The second half of the show on Disc 2 captures the inside of the venue during the intermission at the beginning, further increasing its value as a documentary recording. During this time, there are some incomprehensible conversations between the person(s) who are believed to be the recorders, such as “Happy Birthday, Ziggy,” “Do you want 100 boxes?” and “I’d be happy if you could get them.” It is truly valuable that the situation is recorded for about 2 minutes. Therefore, this recording captures “Hey You” from the first note, but for this reason, the recorder watched the L.A. California performance the day before (= the first day of the Nassau performance) or before that to understand the structure of the show. Maybe he knew. By the way, “DORTMUND 1981 6TH NIGHT (Sigma 153)”, which recorded the 6th day of the Dortmund performance in “1981” with wonderful sound, is also a valuable recording that includes “Hey You” uncut from the first note, but this is a valuable recording. Since the recording was an early performance from the previous year, 1980, there must have been few people who knew that the second half of the show would suddenly start with the customer lights on. That is why “Hey You” here is uncut at the beginning, and it is truly significant that it includes about 2 minutes of the interval before the performance starts. The documentary-like listening continues, for example, in “Nobody Home”, Roger singing as if whispering and speaking is captured in a straight sound, while a female security guard who noticed this recording approaches us and says, It includes a tense scene (* around 1 minute 57 seconds) where someone asks, “Are you recording?” The male recorder replies, “No, it’s a microphone,” but the dangerous and raw nature of the recording scene further enhances the sense of realism that is not found in other recordings. On the other hand, in terms of sound quality, the knocking sound in “Bring The Boys ~” can be heard from the left and right sides, which gives a clue as to the recording position and the acoustics of the Nassau venue, and “Comfortably Numb” also hits the spot. It is also noteworthy that the huge cheers in the hall that erupt at Gilmore’s appearance are perfectly captured along with the performance sound of super A-class sound. “In The Flesh?” is also characterized by a massive spread of sound that returns to the theme, and in particular the dull tone of the tom can be heard very well, and even the slight timing difference that occurs in the middle can be enjoyed with a very realistic special sound quality. You will be crowned. “Run Like Hell” had a lack of sound due to a tape change around 4 minutes and 11 seconds of the master, but this was also compensated for with a different source on the same day to perfectly restore the original appearance. As a result, you can enjoy the crunchy sound of the bass and the approach of the drums (*we sometimes take an unusual approach that you don’t hear on other days) with a groove that is unique to that day, and you can also enjoy the cutting sound that is unique to Gilmore. You will be able to enjoy its transparency and sharpness at its best. In “Waiting For The Worms,” ​​the variety of voices created by overlapping polyphonic parts and the voice of “Pink” agitated through a megaphone appear in colorful and vivid harmony, and the sight of Roger singing in “The Trial” also appears in later performances. It is a sound that accurately conveys the originality that is missing. Even in the collapse scene, the sound of the ground rumbling is straight and intense with a real sound with no blurring and amplitude. The uncharacteristically exciting MC between songs, the opening speech unique to this day, and the interval that connects the first and second half of the show are included for a while, and “Hey You” is recorded from the first note. Also, the sound of exploding fireworks that reminded me of the nightmares of 1977, the tension during the recording as the security guard called out suspicions, and even the slightly different approaches to playing some songs, or the final hurdle. It can be said that it is extremely rare to find a recording that has so much to listen to among THE WALL sound sources, which have many similar contents, such as the melody of “Outside The Wall” starting before the earth rumbling due to the collapse ends. In other words, this is an excellent disc that perfectly illuminates the show called THE WALL from various perspectives, and the best part of this work is that you can listen to it with the highest quality sound that has been unknown for 36 years. This is its biggest feature. Live at Nassau Veterans Memorial Coliseum, Uniondale, New York, USA 25th February 1980 PERFECT SOUND Disc 1(59:10) 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(58:24) 1. Intermission 2. Hey You 3. Is There Anybody Out There 4. Nobody Home 5 Vera 6. Bring The Boys Back Home 7. Comfortably Numb 8. The Show Must Go On 9. MC Intro. 10. In The Flesh? 11. Run Like Hell 12. Waiting For The Worms 13. Stop 14. The Trial 15 . Outside The Wall