Pink Floyd Pink Floyd/Italy 6.19.1971 Recorder2

This work is engraved with the “Brescia performance on June 19, 1971”. Yes, it is a superb audience recording recorded at the same show as the new masterpiece. So, what is the difference between this work and the new masterpiece? And is it still worth listening to? To explain that, let’s start from the beginning. First of all, the position of the show. Speaking of 1971, it was the 50th anniversary of Hakone, but at that time it was also the time when the “Atom Heart Mother” tour and the “Meddle” tour intersected. First of all, let’s look back from the whole view. “ATOM HEART MOTHER World Tour” {January: Production of “Osekkai” begins} ・January 17th – February 27th: Europe #1 (10 performances) ・April 3rd – July 1st: Europe #2 (18 performances) ←★Here★ ・August 6th – 15th: Japan / Australia (5 performances) {August: “Osekkai” completed} ・September 18th – 30th: Europe #3 (5 performances) {October 4th – 7th: Filmed in Pompeii} ・October 10th + 11th: UK (2 performances) “MEDDLE Tour” ・October 15th – 31st: North America #1a (11 performances) {October 31st: “Osekkai” released} ・November 2nd – 20th: North America #1b (16 performances) ・December 26th: Appearance at Beat Club This is PINK FLOYD in 1971. The Brescia performance of this work is part of the “Atom Heart Mother” tour. It was a concert about one month before the first visit to Japan. This show has been known for its recordings and pre-releases since the analog era, but they were derived from the so-called “Recorder 1”. The situation changed completely in February 2020. Another recording, “Recorder 2”, was unearthed, which has a sound quality that is incomparable to “Recorder 1”. That is what this work is. So, how is it different from the new masterpiece “DEFINITIVE BRESCIA 1971”? In fact, there are five recordings of this day, and the new masterpiece is the fifth newly excavated recording. Let’s organize those five types here.・Recorder 1: stratcat58 (3rd generation) ←※Traditional recording・Recorder 2: Geloso G570 ←★This work★・Recorder 3: Trader sound source with poor sound quality・Recorder 4: G.O. (1st generation)・Recorder 5: Renzo Storti Master ←※This week’s new masterpiece… and so on. Please understand that three of the five types are important, and the remaining two are for completers. And the main focus of this work is “Recorder 2”, which was unearthed last year. Anyway, the appearance of this “Recorder 2” was a shock. To be honest, the traditional recording “Recorder 1” remained at the level of “one of many records”, but the appearance of “Recorder 2” changed everything. Not only did it suddenly jump into the live album representing 1971, but it also made the show itself, “1971 Brescia performance”, a special existence. The key to that sound is “closeness”. In fact, even though this work is an audience recording, it was not recorded in the general audience seats. It was recorded from an area where only band-approved photographers and press personnel can enter. Moreover, the distance is only 2 meters from the stage. The sound pressure and direct feeling of the front row itself is contained in the sound that is approaching. Of course, that closeness has been updated to another recording “DEFINITIVE BRESCIA 1971”, but that does not mean that this work has lost its value. If this is the same recording with different mastering, the role of the old version will be over, but the different recording from the original is filled with the truth of a different position and has a fundamentally different taste of sound. In fact, in the case of this work, the entire ensemble has a beautiful balance, and the natural and neat realism is truly wonderful. The new masterpiece “DEFINITIVE BRESCIA 1971” boasts a miraculous direct feeling and an unusual tightness, but there are also parts that are too powerful and may overpeak. However, because of the nuance of taking a step back (although I don’t think it was actually taken back because it was two meters away), the entire ensemble is recorded in a well-balanced manner. Moreover, the clarity and separation are beyond the norm of the 1970s. Depending on your taste, it’s not surprising that you would prefer this work, and even if the order of excavation had been reversed from “Recorder 5,” I would still have introduced it. Although the encore “Blues” is not included, the other missing parts are complemented by “Recorder 1,” and it was also the longest live album as of 2020. Although it has ceded the throne to “DEFINITIVE BRESCIA 1971,” this work is still a neat recording of cultural heritage class. If the general public only knows Mount Fuji as a high mountain, it can’t be helped. However, if you are a mountain man, you will want to climb Mount Kitadake and Mount Okuhotakadake. That is the horizon on which this work stands. It is a peerless recording that is at the second highest point and captivates with a different view. A masterpiece that was unearthed in 2020 and shocked collectors around the world was released. The pleasure of enjoying the early version of “Echoes” with the neat sound of the related area is enormous, and it is a masterpiece that has not faded even now that another recording “DEFINITIVE BRESCIA 1971” has appeared. Palazzo Delle Manifestazioni Artistiche, Brescia, Italy 19th June 1971 PERFECT SOUND Disc 1 (46:51) 1. Intro 2. Atom Heart Mother ★2:03 – 2:18 / 12:20 – 12:35 Filled 3. Careful With That Axe, Eugene ★13:43 – Filled until the end 4. Fat Old Sun ★0:00 – 0:27 Filled Disc 2 (79:52) 1. Embryo ★0:00 – 0:07 Filled 2. The Return Of The Son Of Nothing ★7:00 – 8:25 Filled 3. Set The Controls For The Heart Of The Sun ★0:00 – 0:21 / 2:26 – Filled until the end 4. Cymbaline ★Full Filled 5. A Saucerful Of Secrets ★Complete compensation