Pink Floyd Pink Floyd/MA,USA 3.14.1973 Upgrade

“Pink Floyd x Rare Taper”. …Another Floyd 73-year apex title based on this formula of the masterpiece will appear! It is the Boston Music Hall performance on March 14, 1973. This recording came out in January 2005, when various artists’ tapes recorded by Joe Maloney, the giant of unofficial recording, the so-called “Maloney Archives”, were leaked on the Internet at once. This sound source was also not distributed at all between tapers before 2005, and the only information was the set list, which was only listed in the specialist book “In The Flesh”, but the impact of it suddenly appearing in full recording at the time of the mass leak of the sound source, which could be called the Maloney shock, was enormous. This sound source was released urgently as “BOSTON 1973 (Sirene-056)” from the Sirene label in May 2005 and sold out in just a few days, which I think was proof that fans all over the world were very interested in this recording. However, although the source that appeared at this time had good sound quality itself, it was also true that there was a problem with the sound image balance (※ The input of the left channel of Disc 1 and the right channel of Disc 2 was inferior to the other, and the sound image was slightly shifted from the center). A high-quality upper version that was completely mono by converting one channel with good sound quality to both channels was released in November 2010 as “BOSTON 1973”, taking over the title that had already been launched. By making it completely mono, the sound image became much easier to listen to, and the advantage was that it included the tuning and opening scene of 2 minutes 42 seconds, which had not been recorded in the intro at the time because it used a new source that appeared from a different route, and as you all know, this has been the standard title of the Boston recording in 1973 until now. However, the situation has changed suddenly only recently. As with the simultaneous release of “DEFINITIVE BOSTON 1972: JOE MALONEY MASTER”, a direct digital transfer of Maloney’s original analog master sound source has been released by the Internet archive “KRW_CO”. It is not the Sigma 73 version which only extracted one channel of good quality, but the channel which was degraded in the original old Sirene version master has been revived with the peak resolution unique to the original sound, and in addition, the calibration (※ This is a fine adjustment of the bias current during recording. If adjusted accurately, it can be transferred faithfully to the original sound without being influenced by the characteristics of the tape) was also good, making it a high-quality source. However, this released version also did not seem to have been adjusted to the slight hiss noise that occasionally appears and the high pitch, so it was not 100% enjoyable as it was. Therefore, this time, elite staff carefully and perfectly removed and adjusted the negative elements of these KRW_CO released versions, and this latest work has the ultimate improvement in sound image accuracy. This work, which faithfully contains the original sound recorded by Maloney on 2CDs, has a higher level of accuracy and deeper listening than the one released online recently, and the day has finally come when the 1973 Boston, which has been a “classic” but not a “definitive” album, will come to an end. Yes, this is the shock of the origin, the original sound image recorded with Sony’s TC-110A tape recorder and built-in mono microphone has finally been beautifully revived as it should be! The high quality is already on another level with the surrounding sound that seeps out immediately after the start of the disc. When “Careful With That Axe, Eugene” begins, you will realize that the sound spread and the crystal clear sound image are at a level that is almost a line recording. In particular, the natural and subtle sound of the organ is so good that you can hear the faint wave diffusion that was not felt in any of the previously released albums. “Obscured By Clouds” has the power of Master Direct in the resolution of the high range, and “When You’re In” that avalanches from there will also captivate your ears with the thick sound of the midrange full of straightness. The melody of the lick that clings to the sharp tone of the guitar is revived with a vivid primary color sound, and the bass also has the elasticity unique to the original sound. “Set The Controls For The Heart Of The Sun” has a vivid cymbal (※ gong?) that Roger is hitting with a mallet at the introduction, and the height of the melody and the magical floating feeling in the middle part attract the listener’s interest more and more with the brilliance of the sound that can only be a master recording. At 10 minutes and 9 seconds, there is a slight sound loss (※ only a few seconds) that occurred during the tape change, but this also appears as it is on the master cassette, so it appears with such vividness that it can be said to be a beauty rather than a defect. From the beginning of the song, “Echoes” has a high level of spatiality and depth that seems to take away your soul, but what can be seen from here is the rediscovery of the detailed and labyrinthine song structure and the size of the recorded original sound. Of particular interest is the development of the so-called “Nothing Part 14” section from the cry to the end of the song, where the mid-range and low-range rhythm bounce around and the high-range sensitivity that extends are so good that the trajectory of the reverberation is visible to the eye, and the vibration of the original sound will surely make everyone see the pinnacle of Floyd’s acoustic art. Disc 2, which completely reproduces the dark side, begins with “Breathe”, a massive high-resolution sound that pops out with the power to put all the previously released albums that have appeared in the past 12 years into eternal sleep. The precision and moisture of each sound that comes out in “On the Run” has been improved, and it is hard to believe that this is the raw sound that has not been tampered with except for pitch adjustment and noise removal. “The Great Gig In The Sky” also has a sound image that leaves a definite aftertaste on the five senses, and you can see that the sweet dialogue between the female chorus and the cymbal work that unfolds in the latter half of the performance is dramatically easier to grasp. “Us And Them” also conveys the moisture of the original sound that seeps out from the guitar arpeggios as a euphoric wave, and you can’t help but be surprised at the fact that the original sound was recorded with a better sound quality, even in the thick harmony between the band and the female chorus that can be heard in the chorus part. There is a loss of sound due to a tape change at the beginning of 00 minutes and 09 seconds, but I don’t think you will feel any discomfort at all here because it is during the introduction of the same image. “Any Colour You Like” attracts the ears with an approach that is not seen anywhere else, such as the bass alternating two sounds with a muted tone in the middle, and the guitar solo playing a unison with the drums and rhythm, but you should be able to feel the impact of the sound that surpasses the sound that has already been released. After the end of “Eclipse”, the hot atmosphere in the venue and the members reappearing and tuning for a while are recorded completely uncut for about 6 minutes (!!), but this is also revived with a more vivid documentary sound. In the encore “One Of These Days”, the thickness of the bass that hits the original sound directly and the weight of the ensemble are goosebumps. This day is a rare style with “no” Nick’s monologue in the middle, but the appearance of this rare performance with remarkable musical propulsion and power exploding with the original sound not only satisfies the listener’s senses at a high level, but the afterglow after listening is also beyond imagination. The joy of the original source captured by Joe Maloney, a giant of unofficial recording, finally reaching its peak. The way the pulsation and color of the live sound that was sealed in the tape is released with the best sound image ever is more than just an upper version, but it can be said to be a kind of documentary experience. I hope you will experience the excitement of the performance on this day, which begins to move with unprecedented density and breadth, with this work. This alone is more than enough to satisfy you, but by listening to it together with another Maloney recording, “DEFINITIVE BOSTON 1972: JOE MALONEY MASTER,” which will be released at the same time this week, you will be able to enjoy the fullness of the Maloney archives and the original sound explosion even more. The 100 series of Floyd specialty labels that have delivered various excitements and discoveries, such as “COMPLETE APHRODITE,” the complete recording of Hakone Aphrodite (August 6th), “BRIGHTON JANUARY 1972,” which revived the world premiere of “Madness” with the ultimate sound image, and even “KP339-KP344,” a complete mint reproduction of the mega-rare bootleg LP “PINK FLOYD,” which was pressed in small quantities in the early 1970s. Live at Boston Music Hall, Boston, MA. USA 14th March 1973 TRULY PERFECT SOUND(UPGRADE) Disc 1(68:27) 1. Intro. 2. Careful With That Ax, Eugene 3. Obscured By Clouds 4. When You’re In 5. Set The Controls For The Heart Of The Sun 6. Echoes Disc 2(65:59) The Dark Side Of The Moon 1. Speak To Me 2. Breathe 3. On the Run 4. Time 5. Breath(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 (Encore)