Description
“Pink Floyd x A rare taper”. Just that combination is enough to get us excited as we get lost in the charm of unofficial sound sources, but now the veil of the original recording has finally been lifted from that sound source. These are two works worthy of concluding the catalog number 100 series of one of the world’s leading Floyd specialty labels!! …His name is Joe Maloney. If you are in contact with unofficial sound sources, you will definitely hear his name at some point. I apologize for this being a little late for experienced listeners, but he is a legendary American taper who recorded live sound sources of a wide range of rock artists in the 1970s with ultra-high sound quality, and is a giant in the unofficial recording world alongside Mike Millard and Dan Lampinski, who were active at the same time. Millard’s recordings are affectionately called the “Millard Tapes” and Lampinski’s recordings are called the “Lampinski Recordings”, but Maloney’s series of recordings are so high quality that they are called the “Joe Maloney Archives”. They include Queen, the Rolling Stones, Jeff Beck, Led Zeppelin, David Bowie, and others, and all of them are of high quality and sound quality, and many of them are highly valuable as documents. He caught Pink Floyd’s performance in Boston, Massachusetts, USA in the early 1970s. Maloney’s recordings of each artist are mostly Boston performances (probably because he lived and worked on the East Coast at the time), but this was a live recording from the Boston Music Hall in 1972 and 1973 that later amazed unofficial recording fans around the world. In particular, the 1972 Boston concert was the last day of the first North American tour in May, when the entire show had not been recorded in real life, so it was extremely valuable as a documentary record, but the sudden appearance of this excellent recording by Maloney was a tremendous shock. This recording was first released in 2005 as “BOSTON 1972”, and has since been re-released as a two-disc set as “CARNEGIE HALL 1972: STEREO MASTER”. However, although these titles (hereinafter referred to as “previously released”) were certainly excellent recordings, the master sound sources used to make the recordings were from different generations (probably the 1st or 2nd Gen), and the 1972 Boston concert in particular had a weak point in that the sound was slightly dull overall (although it is still of sufficient quality. If you have a previously released version, please check the sound again). However, suddenly, a direct digital transfer of Maloney’s original analog master sound source was released by the Internet archive “KRW_CO”. This became a big topic among unofficial sound source fans recently, but this released source had the drawback that the cut noise was noticeable in the tape damage parts that were also in the previously released board, as the sound quality was much improved, and in addition, the pitch was left high and no processing was done, so although the sound quality was outstanding, the quality was lackluster. This latest work perfectly restored the original state by meticulous pitch correction and noise reduction for each part, and will be proudly released as the world’s first 2CD that conveys the original sound of the Maloney Archives in the best form! The quiet and high-quality sound and sound that overflows with the master sound… It can be intuitively understood immediately after the start of the disc as a very precise sound contour and good sound. The sound itself is sharp, the whole sound image is transparent and well-balanced, and the sound image of the previously known previously released album seems to have been equalized to thicken the midrange at some point in the generations. This is further evident in “On the Run”, where the busy guitar cutting sounds and the electric piano ornaments running around it are each incomparably clear and crisp, and you will witness how they sound vivid and lively. “The Great Gig In The Sky” also shows that the original sound was recorded with a natural sound that makes the recitation monologue easier to hear, and the sound of the organ solo that appears in the second half spreads more vividly, so you should feel a strong upper feeling due to the master sound. “Money” has a sharp outline and graininess of the electric piano solo that is unique to this period in the middle, and the guitar solo has a high level of precision that allows you to grasp even the delicate nuances of the touch, and the balance of each instrument is excellent. You will be surprised that the original sound of “Us And Them” and “Any Colour You Like” was a more extended and open sound image, and that we have been listening to a sound that is quite different from the master. “Brain Damage” has a missing sound due to tape change at 2 minutes and 53 seconds (about 10 seconds), but this is because the recording tape is originally like this. However, since the sound up to this point is too perfect, you can feel the unavoidable rawness that exists in the original tape. However, the sound reveals even more luster and power, and the silky smooth and textured unprecedented sound until the final song “Eclipse” is guaranteed to take your breath away. As usual, Disc 2 is recorded from the tuning scene before the start of the second half, but it can be seen that even the subtle sounds that could not be grasped on the previous board were caught. In particular, the bass tone confirmation is a must-see, as the difference in the bleed-out tone is obvious. “One Of These Days” also has the natural loudness of the original sound in the low range, and the contrast between the sound of the toms and the occasional high-pitched guitar is even more dazzling. The mid-stage scene where the drums disappear is also excellent in its musical floating feeling. The tuning that comes in for about a minute after the end of the song also has a more accurate sound of the bass harmonics, so please check it out. “Careful With That Axe, Eugene” will also be overwhelming with the gradually changing sound expression coming out in the dynamic original sound waveform. After the end of the song, the tuning scene is also captured for about four minutes, but this can be enjoyed without missing a single sound with a transparency of a different dimension from the previously released sound. “Echoes” also revived its fantastic floating feeling and transformation into musical flight with a phoenix-like euphoric sound that shakes off all the past previously released boards. The high-quality sound and timbre trajectory that drifts from the beginning is the moisture unique to the original sound absorbed on site, and it is guaranteed to make you shiver. At 14 minutes 25 seconds, there is a momentary sound loss due to tape change, but since this is a floating scene at the end of the albatross song, there is almost no sense of incongruity. For about four minutes after the end of the song, the lingering sound of the venue and the tuning appear with the best sound image ever. And in “Blues,” which can be said to be the biggest listening point of the day, the roadie starts to put away the equipment during the performance, and the strange landing of Gilmour’s guitar solo that remained until the end appears with the most vivid documentary sound ever. The rare bass solo scene in the middle of the performance also has an improved elasticity of the tone, and Roger’s hook-like notes draw the most grainy sound trajectory in the history of the source. It’s not a sound that has fallen into a gen-down state, nor is it a sound that has been mashed up with equalization, but the natural power and sharpness of the original sound that is unique to the master source… that’s all there is to say about the sound character of this work. Of course, the pleasure of the colors of the tone that were originally contained being vividly released is great, but the quality of the sound emitted is fundamentally different, making it a work filled with an upper feeling that makes such a difference in the sense of hearing. Live at Boston Music Hall, Boston, MA. USA 4th May 1972 TRULY PERFECT SOUND(UPGRADE) Disc 1(48:53) 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. lipse Disc 2(67:32) 1. Tune Up 2. One Of These Days 3. Careful With That Ax, Eugene 4. Echoes 5. Blues
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