Pink Floyd Pink Floyd/Osaka,Japan 1971 & more

The legendary Pink Floyd rare record is finally here with real sound!! Rare, super rare, mega rare… These are words that collectors are relatively familiar with, whether they are official or unofficial, but there are quite a few records with such adjectives, especially when it comes to Floyd vinyl bootlegs. Some of the more famous ones are “THE BEST OF TOUR ’72 (KDBO 1034 a/b)”, “CRACKERS (TAKRL 3969)”, “LIVE IN ROTTERDAM (H 1007)”, and “M-502 (M-502-1/2/3/4/)”, which has no title and is only known by its label number. There is even a completely private record called Hakone Aphrodite Recordings, commonly known as “PEACE (?) RECORD”, which was pressed at the artist’s own expense, had no title or jacket, and was not even sold in shops, but was simply given to friends, so it is quite a challenge just to cover all the items. And among them, there is another one worth mentioning, the 3-disc vinyl bootleg LP “Pink Floyd (KP339-KP334)”, which contains the Osaka performances in 1971 and 1972. This title, commonly known as “Osaka Triple” in Japan, is the rarest of Floyd’s vinyl bootlegs, and was released in 1972 (estimated), and was even described as a “phantom record” in a review in the specialist magazine Beatleg. Anyone who is serious about Floyd collections will understand that this is an extremely difficult record to obtain, but in July 2009, this was reprinted from the original recording borrowed by our Sigma label and digitized for the first time in the world under the title “OSAKA TRIPLE (Sigma 44)”. As expected, this release became a CD title that excited Floyd collectors all over the world. However, if you have listened to “OSAKA TRIPLE”, you may have had a certain thought for a long time. That is the sound image of “valuable, but modest sound”. The record used for “OSAKA TRIPLE” is the actual “phantom record” “Pink Floyd (KP339-KP334)” mentioned above. Although the master record that was borrowed was a one-owner item, it had been played many times, so the sound image certainly left a dull impression. Also, since the playback equipment was seven years old, the image of the playback sound may have lacked freshness from that perspective as well. However, just the other day, one of our Sigma staff miraculously obtained this master LP through a certain route. And what was astonishing was the condition of the disc. Although the exterior of the jacket had deteriorated slightly with age, the master record inside was almost untouched, and there was not a single spindle mark on the label, so it was in excellent condition that it could be said to be in almost mint condition. Naturally, this means we can have high expectations for the sound coming out of the record, but the sound that came out of the speakers was exactly what we expected, that is, the shock of a real sound that blew away the sound image we were used to hearing from the previously released “OSAKA TRIPLE”. In other words, the closeness of the sound output that the record originally had, the clarity with the outline of the performance sound more clearly defined, the wideness of the sound image that spread in all directions as if a membrane had been peeled off, the absence of trace noise caused by the rotation of the record that was noticeable everywhere on the previously released version, and above all, the strength of the sound output without any blurring was clearly evident in every scene. This is obviously due to the difference in frequency of use of the record and the difference in the playback environment due to the latest high-end equipment that has progressed and evolved over the past seven years, but this newly acquired “phantom record” full of upper feeling has been sealed in the press with the latest digital technology, and this latest work “Pink Floyd (KP339-KP344)” is now available!! And to give a big advantage to the already released “OSAKA TRIPLE”, this time the jacket has also been completely reproduced. As you can see from the jacket image posted, there is no title, and the band name and track list are simply written on a piece of paper pasted on the outer brown paper bag. The back jacket is practically nonexistent, as the brown bag continues to the back, but it is a simple one with three black label records with consecutive numbers (窶ｻ The first A-side starts with “KP339” and the third and last F-side ends with “KP344”). As a rule for faithfully reproducing such vinyl bootlegs, this work is recorded on three CDs in the same order as the three original discs, just like the previously released versions, but this work has one more faithful reproduction of the original. That is, “Scat in the Void,” which was recorded separately at the end of side E with the first half at the beginning of side F due to the recording time of the record, has been divided into tracks according to the side division. On the previously released version, this scene was combined and treated as one song, but this time, it has been treated as two songs as on the original, so one new track has been added. Also, since the condition of the record is so excellent, no unnecessary equalization other than pitch adjustment has been done this time either. The previously released version “OSAKA TRIPLE” was transferred completely non-equalized except for pitch adjustment, and this is exactly the same. However, because it is exactly the same processing, those who already own the released versions can clearly hear the difference in freshness of the sound reproduced from the two same master recordings, and the upper feeling due to the digitalization with the latest equipment in 2016. It is certain that listening to this will completely overturn the dull sound image of the previously released versions. Now, let’s introduce the newly arranged versions, comparing them with the previously released “OSAKA TRIPLE”. Disc 1 X1-A (Side A) KP339 1. “Simba Line”…August 9, 1971, Osaka Festival Hall 2. “Mystery”…March 9, 1972, Osaka Festival Hall X1-B (Side B) KP340 3. “Fat and Wobbly Sun”…August 9, 1971, Osaka Festival Hall 4. “Atom Heart Mother”…March 9, 1972, Osaka Festival Hall Disc 1 is the A and B sides of the first master recording, and four songs have been selected from the Osaka performances in 1971 and 1972. First of all, the dense sound of “Simba Line” from 1971 exudes from the beginning, but the attention should be paid to its vividness and spread. In particular, the high range is clearer than the previously released version, and the impression is completely different from the previously released image, which had a somewhat claustrophobic feeling overall. The climax in the middle part (from 3 minutes 46 seconds) also has a wider and thicker tone in the scene where the organ asserts itself, and the breath is revived with a more vivid sound. What’s interesting is that the subtle fluctuations in the master tape original sound in several places are even more vivid, which also allows you to feel the difference in the condition of the board. “Mystery” from the second day of the 1972 Osaka concert has an upper feeling to the sound of the organ crawling through the heavy and dull introduction, but the decisive difference is the sound of the drums. The clarity of each hit has increased so much that you can intuitively tell, and the distorted guitar in the background and the effect of the VCS3 have significantly improved the cloudiness of the sound image, so you should be able to feel the power of the board even more. The final part led by the organ in the second half also has a remarkable improvement in sound image, and the scene where the slide guitar begins to sing loudly (from around 11 minutes 8 seconds) appears with a dazzling light that has been removed from the membrane that had been covered until now, and the clarity of Gilmour’s guide vocals and the ensemble behind them have even clearer sound contours, so be sure to check it out. Again, the August 1971 “Fat and Wobbly Sun” first has the periodic transmission sound of the record that existed at 00 minutes 05 seconds to 08 seconds of the previously released version cleanly removed. In addition, the vividness of the sound output stands out from the start of the track introduction, including that, and the entangled guitar solo also has a strong high-resolution tone that is different from the playback sound of the previously released version, which gave a sense of distance and thinness to the sound output. The organ solo in the second half is also exquisite, with the beautiful melody swaying with a vivid sharpness and increased density of each sound. Anyone can clearly hear how the playback sound of the previously released version of “Atom Heart Mother” was muffled and distant. The guide vocals in the middle (from 4:51) are also clear, and the rare pitch and divisions sung on this day make for an even more dazzling sound. The guitar singing that unfolds from 10:36 has been improved by the bass and drums in the background, and the organ, which was vaguely difficult to hear, now has its smooth sound with the original, sharp tone of the original master. Disc 2 – March 8, 1972, Osaka Festival Hall X2-A (Side C) KP341 X2-B (Side D) KP342 Disc 2 is the second half of the show on the first day of the Osaka performance on March 8, 1972, which can be said to be the main part, and corresponds to the second and C and D sides of the master. First of all, in “Blow Wind, Call Storm”, the sound of the wind at the beginning is different in vividness, and when the bass starts to move, the difference in the sound image becomes more decisive. As you know, this is a song with a resonant bass, but in the previously released version, the trace noise of the record was even more noticeable, and the sound was muffled and fluffy. However, in this work, the dynamic texture and movement of the bass have been restored to the original vivid transparency of the record, resulting in a sound image that allows you to directly experience the original charm of the song. It’s a simple difference, but I think the difference is big. Another topic is that Roger’s unique bass expression, which bounces around and makes the sound violently portamento near the end of the song, allows you to fully enjoy the transition of the sound and the brushstrokes of the performance. As soon as the song “Eugene” started, there was a vivid muttering from a nearby person or the recorder, “It’s here…scary….Ah, it’s here!!” which could be taken as either fear or admiration. The real shock of this song, which gave a thrill to the entire venue just by the sound scene, is revived with a sound image full of mysticism. The musical breathing of this day, making full use of the spatiality of the sound and the gaps in the sound, breathes more vividly, and the flow towards the end where the tragedy slowly converges is so dramatic that the previously released version disappears. “Echoes” has some trace noise in the quiet part at the beginning, but on the previously released version, it was too noticeable and the performance sound was overwhelmed by the noise, and the first half sounded weak and faint. However, in this work, which is in the best condition of the record, even the soft sounds have a lustrous tone with a core, and you can clearly hear the subtle intertwining and interweaving of each instrument before the song. In the middle of the song, there is a bassless scene (from around 11:49 to 12:08. Was this intentional? Was it a problem with the equipment?), but the lack of bass creates an unfamiliar surprise with an alluring upper sound, and the vocal melody sounds clearer than ever before. The albatross song scene is filled with an inspiring sound that surpasses the previous release, but you will be stunned by the closeness and sharpness of the song (the guitar sound) that is reproduced completely differently. This is another good example of the difference that can be made depending on the condition and the playback equipment, even though it is the same record. In the final song, the faint sound of each instrument is clearly heard, completely different from the previous release, which had a weak sound that lacked resolution. Disc 3 – “The Dark Side Of The Moon” March 8, 1972, Osaka Festival Hall X3-A (Side E) KP343 X3-B (Side F) KP344 Disc 3 is a perfect reproduction of the prototype version of “Madness”, which, as you know, is originally the first half of the show on this day. “Speak to Me” had noticeable trace noise on the previously released version, but here it is a noise-free, transparent sound.It is easy to understand that the sound flows smoothly and the spread in all directions has been improved vividly. Just to be clear, this has not been remastered, and it is amazing that there is such a difference in the raw state. “Breath of Life” also progresses with an unprecedented smooth sound that maintains a beautiful spread, and the resolution of Gilmour’s singing voice and the sound of the bass line has increased significantly. “Time” still has the rustling sound from 1 minute 26 seconds to 27 seconds and the momentary sound rubbing at 2 minutes 36 seconds, but the melody unique to the prototype version with suppressed intonation has been revived with a rich texture, and the greatest benefit is that you can now enjoy the lingering sound and the gaps between the sounds even more. Since the record’s surface division (continuing from side E to side F) occurs here in “Scat in the Void,” this work also follows that and divides the tracks into the first half and the second half. With one more track than the previously released version that was treated as one track, the credits have restored the faithful appearance of the original recording. At the same time, the joy has been regained musically, and the melody unique to the prototype stage stands out with the strong reverberation of the original master recording. “Money” also regains the clarity of the register sound and the outline of the singing voice, and the organ, which previously sounded deep and thin, now has a hard, strong tone, but this is by no means the effect of remastering. “Color of Hope” also has a stronger guitar texture and the sound is clearly more forward. Along with the guitar, there is a guide vocal (probably Gilmour’s) of “笙ｪ Tururu… Turarara…”, and it is important to check out how this can be heard even more clearly, and the ensemble’s movement, which becomes more noticeable in the second half, stands out with a clearer sound. The opening of “Mad Men in the Heart,” where Roger’s singing voice was a little muffled on the previous release, now sounds as transparent as the original sound of the record, and the difference in the way the organ’s tone shifts is also noticeable, but in the last “Eclipse of Madness,” the siren sound and the vividness of the singing voice, the range of the sound, and the closeness of the sound have been significantly improved, and you will surely be amazed until the moment the disc ends. Since this is a recording and LP from about 45 years ago, and many people are familiar with the sound from the previous release, I will not deny that this is basically a vintage sound. However, it is truly shocking that the sound image has such a clear upper feeling in every scene, even though it has not been intentionally remastered. The vivid fluctuation of the sepia-toned original sound on the tape, the atmosphere that creates a dense sound, and the closeness and clarity of the original sound are undoubtedly the best ever, and everyone will be convinced that this is the vintage sound of Floyd’s Japan performance that deserves our special memories. This weekend, please try to bring out the truly romantic sound that has been sleeping on the board for about 45 years with this latest work. It’s good to listen out of curiosity about what the real sound of the legendary mega-rare board sounds like, but as you listen, you will not be excited by such added value, but you will be captivated by the pure admiration and rediscovery of how dazzling the performance that Floyd left behind in Japan 45 years ago was. Disc 1 (58:09) X1-A (Side A) KP339 Festival Hall, Osaka, Japan 9th August 1971 1. Cymbaline The ending of the song has been faded (silenced) – The record is running, so strictly speaking, the previous release is missing. Festival Hall, Osaka, Japan 9th March 1972 2. A Saucerful Of Secrets X1-B (Side B) KP340 Festival Hall, Osaka, Japan 9th August 1971 3. Fat Old Sun There is no periodic transmission noise at around 0:08 on the previous release. (This shows the good quality of the record.) The ending of the song has been faded (silenced) – The record is running, so strictly speaking, the previous release is missing. Festival Hall, Osaka, Japan 8th March 1972 4. Atom Heart Mother Taken from the original 3LPs “Pink Floyd”(KP339-KP344) (UPGRADE) Disc 2 (50:03) X2-A (Side C) KP341 1. One Of These Days 2. Careful With That Ax, Eugene X2-B (Side D) KP342 3. Echoes Disc 3 (5 0:08) The Dark Side Of The Moon X3-A (Side E) KP343 1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. Breathe(Reprise) 6. The Great Gig In The Sky 11. Brain Damage 12. Eclipse