Pink Floyd Pink Floyd/Germany 2.18.1981 Complete

This title is the sixth performance out of eight performances in Dortmund, Germany, on February 18, 1981, and is the performance date that was previously heard on the “DORTMUND TRIAL Remastered Version” that was included as a bonus on “THE SIXTH GERMAN SHOW” and “DORTMUND 1981 3RD NIGHT”. If you are an avid fan, you may think “Ah, that’s it,” but this latest version that will be released this time is a recording made by independently obtaining a different new master from each of the previously released versions, and it is a new 6th day sound source that can be called “Recorder 2” of this day! What’s more, interestingly, the recording by this other master is a rare sound image with almost no human presence or noisy strange voices around the recorder (※ It cannot be determined, but it may be a recording where the recorder was placed in a different position from the general audience seats, such as VIP seats), which can be said to be a rare sound image among all THE WALL sound sources. However, the fact that there are almost no people around means that it is a novel source that allows you to concentrate on the performance and music, and the greatest advantage of this recording is the neat listening comfort that distinguishes it from the noisy sound that has been heard on each previous release. For this reason, this work does not have any unrefined equalization, and only removes the slight analog noise that occurred during playback and adjusts the pitch precisely, so you can enjoy the pure sound of the new master that approaches the performance from a step back perspective, and it is a finish that does not disappoint your expectations! Only the MC speech by Willi Tomczyk at the beginning is compensated for up to 1 minute 34 seconds from the previous release (because this part was lost in the new master used in this work), but the careful treatment makes it seamlessly connected, and the end of the disc is a flood of upper sounds by the new master. The sound image of “In The Flesh?” suddenly changes at 00 minutes 10 seconds into the beginning (※ Did the recorder change the direction of the microphone or the position of the recorder due to the excessive roar?), but the performance can still be heard clearly after that, and you can see that even the weakest sounds are beautifully picked up in the stable sound image. The flow of “A other Brick…Part 1-2” is also attractive for its high transparency that allows you to hear even the faint sounds perfectly, and the increase in the speed and strength of the musical movement that becomes noticeable from the middle of “The Happiest Days…” (※ And the inventive sound throwing and beautiful tone of the guitar and organ solo that closes out from the middle of “Part 2”) is a must-see, as it completely renews the sound image that you are accustomed to hearing on each of the previously released boards. In “Mother,” the guitar solo in the middle part also resonates with a beautiful sound while maintaining a moderate distance, and you should be able to feel the new master’s ability in the way that the linear melody and singing voice interfere with each other dazzlingly. “Goodbye Blue Sky” is sure to make you burn with the swaying melody line of the chorus and arpeggios being solemnly wrapped in the sound of the organ, and “One Of My Turns” is released with a stoic sound image that is completely different from the previously released sound, with Roger’s singing expression that changes drastically between the first and second halves, and you can enjoy the performance that bursts with momentum from an even more calm position. At the same time, because of this tranquil sound image, “The Last Few Bricks” has more pleasure than the previously released version in that you can closely follow the sudden changes in expression that are remarkable. And the special topic that can be said to be the biggest of this new master is at the beginning of Disc 2, and what a special topic, this recording is not a cut-in of “Hey You”, but the recording started before the performance began. In other words, the opening guitar arpeggio is recorded uncut from the first sound, which 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 a recorder or if the recorder had seen THE WALL performance more than twice and knew the flow of the show (as you know, the second half of THE WALL starts suddenly with the house lights on, so if you don’t know the production, you would normally stop the recorder during the interval), but in any case, there is no doubt that this also enhances the impact of the new master and is a factor that leads the already released board one or two steps. Of course, the sound with good visibility is inherited in the second half, and the depth of the expression and the beauty of the melody seen in “Nobody Home” and “Vera” become even more vivid, and the anthem that appears in the first half of “Bring The Boys Back Home” also appears with a very vivid sound with the shading of the polyphony. In addition, even charming songs like “The Show Must Go On” pick up even the faintest sounds, so you can follow the detailed transitions in various tones and changes in expression, and the high musical spontaneity of “Run Like Hell” (and its tough, dense sound image) will once again demonstrate the new master’s capabilities. “Waiting For The Worms” also features a dynamic performance across a wide range and Roger’s stirring vocals with a dense sound, but the heavy, explosive performance of “The Trial” also comes out with a vivid on-site sound that makes you feel the vibrations of the floor, so please pay attention to it. Of the eight performances in Dortmund that began in 1981, this sixth performance, which has finally reached its climax, is the quarterfinals that fans are most interested in at Koshien in the summer, which is the national high school baseball tournament, and I think this can be likened to the most physically and mentally difficult time, heading towards the apex = final day. It’s easier to make mistakes than usual, so your skills are called into question, and you can get a real glimpse of your daily results and your true self, but the calm sound image of this new master is perfect for considering the performance on the 6th day from that perspective. It’s very meaningful to consider it in the midst of the surrounding noise, as with each of the previous releases, but this sound image, which takes a step back and focuses on the performance and music in a cold-hearted way, will surely increase the amount of musical information on the new Dortmund 6th day that you couldn’t notice in the hustle and bustle until now. It’s like the Koshien baseball players, taking on music while controlling their performance and themselves. Westfalenhalle, Dortmund, Germany 18th February 1981 TRULY PERFECT SOUND Disc 1(56:52) 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(54:01) 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