Pink Floyd Pink Floyd/Canada 1973

“Yeeshkul”. This is a mysterious phrase that Floyd fans will inevitably come across one day as they listen to unofficial recordings. Now, any avid fan will know that it is the title of a masterpiece that represents Floyd in 1973, and that it is the recorder’s own words of admiration and joy (experiencing Floyd’s show live in front of his eyes) that appear in several parts of this recording. However, although this voice certainly characterizes this recording, it is also true that the real strength of this recording is that it captures the musical excitement of Floyd in 1973 with extremely high quality sound quality. Needless to say, this recording is an excellent recording of the Toronto performance at the very beginning of the first North American tour in 1973 (only the 7th performance!!) held in conjunction with the release of the album “The Dark Side of the Moon”. In addition to the performances “Obscured By Clouds” and “When You’re In”, which are unique to this period, you can also listen to “Echoes” as the opening song, which is also noteworthy. As you know, the 1973 performance is interesting in that the order of songs and songs in the first half of the show and the encore songs are often changed, but this big song probably opened only three times in 1973, on March 8, 10, and 11 (※ this work), so it is also rare in that it was the last program you could hear in this set. In addition, the complete reproduction of “Madness”, which is the second half of the show, is a flood of precise depiction power that was beyond the previous year’s incompleteness, and it is a fascinating sound source that has the addictiveness that makes you want to surrender yourself to the huge musical flow many times. Looking back at the history of this sound source again, this century’s famous recording has been attracting hot attention among some enthusiasts since the mid-1980s due to tape trading between collectors. Of course, this was due to the distinctive exclamations and vulgar burps of the recorder, but it was also appreciated for the fact that it was a recording that revealed the entirety of the 1973 performance, which was difficult to see due to the small number of performances = the small number of existing recordings, with a rare and special sound quality. Also, since it was a sound source that such advanced enthusiasts paid attention to, it is also worth noting that the first time this was made into a record was not actually a CD title produced by a manufacturer, but a private record CDR with a homemade jacket made by a more core fan around 1997 using trade tapes (※ Of course, the title was “Yeeshkul!” from the beginning). This spread through trader networks and the early Internet, and several identical sources branching off from the master and sources of younger generations gradually appeared, but the one that marked a turning point in this trend was “Obscure Night (Sirene-171)” released by the Sirene label in August 2006. This was a title that caused a big stir at the time as the highest quality sound record of this source, which had been a mixture of good and bad until then, but six years later, a new version suddenly appeared, this time converted from the 1st Gen tape of this recording to DVD audio with high specifications of 24bit/96khz. The texture, directness, volume, and scale of the sound exceeded the Sirene version mentioned above, but the problems of the remaining hiss noise and the slightly unstable sound localization and pitch were not resolved at all, and although it had the appeal of the improved sound quality of the 1st Gen, it was still a sound source with problems in terms of quality. Then came this work, “YEESHKUL (Sigma 80)”, released in June 2012. Using high-end professional equipment, the sound localization was adjusted while staring at the waveform, the pitch was strictly corrected, and the noise was alleviated to the limit without affecting the original sound, resulting in the best remastered sound imaginable. The depth of the sound image and the remarkable spread to the left and right ranges, and the sound output, which was somewhat thin overall, has been revived with a thick and tough sound, and it is no longer just an upper version, but a high definition version that perfectly reproduces the power and high-density information of the 1st Gen tape, which was astonishing even to enthusiasts who had checked the original sound of the new version on the Internet in advance. Of course, this still maintains the quality that annihilates all existing sources as of 2016, and the only way to surpass this is with the original master tape sound. For example, although “Echoes” is still cut in about a minute after the introduction (※ This is probably because the master is like this), the elastic mid-to-low range high density feeling unique to the 1st Gen can be felt right from the start of the disc, and the texture of the sound and the musical mysticism are doubled. The unusual closeness of the singing voice is also noteworthy, and the color of the guitar sound, which produces a distinctive melody that rises and falls throughout the song, is also special. The movement of the bass, which is usually difficult to hear, can be heard clearly, and in the development section of the song (for example, from around 6 minutes 13 seconds onwards), you can enjoy how the movement of the bass breathes diversity into the driving feeling of this song in a satisfying loudness. In the scene of the cry, the sound can be seen to move slowly from left to right by the sound group movement device installed in the venue, and it is interesting to see that the recorder was located in a good position with no obstructions. As the song approaches the end, the dynamic sound movement with density and weight is perfectly picked up, and the recorder’s burp after the end of the song is also released in stereo from the left and right channels. “Obscured By Clouds” also has a one-note jam with a floating feeling that spreads all at once with a vivid sound, and you will be surprised at the wide range after the rhythm starts moving. In particular, the bass and drums perfectly express the powerful sound at the base of the song structure, and you can see how each member puts various things into the elusive melody that changes little by little, and how it takes a concrete form and moves forward in “When You’re In”. The organ that comes in around 3 minutes 58 seconds also dances powerfully with a Rick-like melody, and the rhythm section behind it becomes even more dynamic, so you can fully enjoy the overwhelming listening comfort that exceeds the previous release. The sophisticated simplicity of the song structure of “Sun Hymn” without excessive decoration is vividly expressed in the close sound unique to the 1st Gen, and “Eugene” also has a colorful sound of each instrument that acts on the listener’s subconscious, and you can clearly see the magic unique to live performances. In particular, it can be said that this work is the only one where the sharp sound of the organ and the connection of the sound reach each and every note so clearly. Roger’s strange voice (※ especially many on this day) that comes in here and there is also clear, and the scream, combined with the recorder’s amazement (※ incl, “Yeeshkul!”), shows an inevitable excitement that gives you goosebumps, and it is one of the best listening responses where you can feel the exchange of energy between the listener and the player at a high level. Disc 2 is a complete reproduction of the familiar “Madness”, and this also has a perfect sound from the introductory monologue to the end. “On The Run” is the first song to catch your ears. On this day, the SE continues for nearly a minute and a half before the arpeggios appear. During this time, the sound of high heels and the woman’s monologue can be clearly heard. In addition, the left and right sound swaying (which gradually becomes more noticeable from around 1 minute 50 seconds), which seems to be the effect of the sound group moving device, appears with the highest resolution ever, and from around 4 minutes 36 seconds, you can enjoy Roger hitting the gong. In “Time”, the collage sound of the opening bells emitted by multiple clocks comes out with the most detailed sound image ever, each of Rick’s melodies comes out beautifully, and Gilmore’s singing and sharp guitar that comes in from the middle also jump out with a dazzling sound that is unique to the 1st Gen, which has never been seen before. “The Great Gig In The Sky” still has a slight cut (tape change?) at the beginning, but the female singer’s voice work is responded to by the kinetic performance, and the music progresses beautifully with a wide sound image without any blurring in the localization, which is something you can’t miss. “Money” does not feature a saxophone, but you can enjoy the simple performance with strong texture by listening to the performance with a good instantaneous power of each sentence from close up. “Us And Them” will have you glued to the majestic sound and transparent sound image, but you will surely rediscover the precision of expression in the sound of the hot sound. And “Any Colour You Like” is all about the guitar work that continues to sing for more than four minutes from 2 minutes 32 seconds. As you know, this scene on this day was a parade of melodies that could be called sensual beauty itself, and there should be no one who is not surprised and delighted by the appearance of the strongest sound in the history of this sound source with its closeness and sharpness. The wide musical base of “Brain Damage” toward the epilogue and the flow of the melody in “Eclipse” will deliver a great impression that is not found in other performances, and the tough sound of the encore “One Of These Days” will surely surprise you with the powerful sound that is emitted in all directions of the range. Among them, the thickly engraved bass and the three-dimensional guitar sound with a wide range of sound are particularly noteworthy, and Mac, who transforms the eeriness of the song into infinite heat, is revived with the vivid texture unique to the 1st Gen. By the way, what exactly is a famous recording? When we think about the definition, it seems that simply having good sound quality is a good sound quality source, but it is different from a famous recording (※ The same goes for SBD sound sources). Recordings of very rare scenes have documentary value, but if the sound quality is not good, it cannot be called a good recording. A famous recording is one in which the performance and the audience feel the exchange of hot energy, and the performance sound jumps straight into your ears, and it also has high historical value. Of course, it is rare, but if you come into contact with this work, you will realize that this is a rare Floyd 73 sound source that meets all of those conditions. This sound source tends to highlight the recorder’s amazement at the live Floyd, but if you think about it, it is nothing other than Floyd’s intense performance on this day that is making him so enthusiastic. The greatest appeal of this work is that you can listen to that special performance with the ultimate 1st Gen remaster sound. For avid Floyd fans who listen to the unofficial version, this is an indispensable gateway to success in 1973. It is the alpha (beginning) of Floyd’s early 1973 tour, and the omega (end point) of the sound quality and materials. Please experience this Yeeshkul masterpiece with this work! Live at Maple Leaf Gardens, Toronto, Ontario, Canada 11th March 1973 TRULY AMAZING SOUND (UPGRADE) Disc 1 1. Echoes 2. Obscured By Clouds 3. When You’re In 4. Set The Controls For The Heart Of The Sun 5. Careful With That Axe, Eugene Disc 2 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