Queen/Hyogo,Japan 1975 New Master

This is an incident! A new original master cassette has been unearthed from the legendary QUEEN’s first visit to Japan. What is recorded on this board is “April 23, 1975: Kobe International Hall.” This is the best audience recording. It is an incident just because it appears for the first time after 44 years, but the impact of this work is much more than that. It was the ultimate master that surpassed previous releases in terms of both quality and recording time! In order to explain the contents, we must also sort out what has already been said. First, let’s check the show’s position on the first visit to Japan. ・April 19th: Nippon Budokan ・April 22nd “NAGOYA 1975” ・April 23rd: Kobe International Conference Center ←★This work★ ・April 25th: Fukuoka City Kyuden Memorial Gymnasium ・April 28th “FATAL” ATTRACTION (Okayama)” April 29th “TSUMAGOI 1975” April 30th: Yokohama Cultural Gymnasium May 1st “AN EXCEPTIONAL LEGACY (Nippon Budokan)” *Only representative works are included in each performance. That’s all 8 performances. The concert started at the Budokan and returned to the Budokan in about two weeks, but the Kobe performance of this work was the early stage concert, the third performance. This day is also known as the day when many recordings are made, even for first-time visitors to Japan, and we have introduced many masterpieces at our store. Let’s sort this out too. ・Recording A: “LIVE IN KOBE” ・Recording B: “DEFINITIVE KOBE 1975” ・Recording C: “KOBE 1975: ALTERNATE MASTER” ・Recording D: [This work]… and so on. This work is the fourth completely different from the previous three. Each conventional master is a masterpiece, but each one has a different personality. “A” is a traditional analog record, “B” is a single disc with high sound quality but lacks the final part, and “C” is not as good as B, but its strength is the panoramic recording of the show… It had advantages and disadvantages. However, this newly discovered work “D” is on a different level. Although it is an original only for this work, this one has surpassed all the previous ones. It’s more natural than “A,” the sound is better than “B,” and it’s longer than “C.” First and foremost, the sound. The wonderful sound world that makes even “B”, which was the highest peak so far, out of the question will take your breath away. Like the audience, they are absorbing the enthusiasm, but the strong core cuts straight through the clear atmosphere, and if there is plenty of response, the details are also detailed. In fact, the basic personality is similar to “B”, but this work has a better natural feel and sense of stability. Only the original master has the ultimate freshness with no dubbing marks, and there is no shaking or distortion. “B” doesn’t even have the chatter that was sometimes felt, and has an unwavering luster that belies the 1975 vintage recording. Normally, even with a new excavation, remastering would be performed to bring out the maximum potential of the master, but with the new master “D” there was no need for that. The non-remastered version, which only checked the pitch, exceeded the polished sound of “DEFINITIVE KOBE 1975.” What is even more shocking than the sound is the length, which is the longest ever. There was a long wait before the performance and for the encore, but the biggest topic was “See What A Fool I’ve Been” at the end. Up until now, “A” and “B” had not been completely recorded, and even in the long “C”, the first half was largely unrecorded. You can listen to the complete performance of a valuable performance that no one has ever been able to hear before. Of course, since it was a cassette recording from the 1970s, there were cuts such as tape changes, but since it was a 12-second member introduction scene, the performance was not cut (this scene was supplemented in “DEFINITIVE KOBE 1975”). (Because they have similar personalities, the result is so natural that you can’t tell where they are connected.) Strictly speaking, there are some omissions in recording to save tape while waiting for the second encore, but in the first place there were parts that were almost never recorded in the conventional master. This work is recorded for more than 3 minutes just there. As for the content of the show… there’s no need to repeat the number of characters. If you keep an eye on this work, you probably know the previous episodes. The passionate performance in “DEFINITIVE KOBE 1975” that made my fists hurt, the highlights of “KOBE 1975: ALTERNATE MASTER”, and the spectacle that can only be seen in Japan for the first time. You can experience all of them seamlessly with even higher quality sound. I’m sure many of you have fantasized about “I wish DEFINITIVE KOBE 1975 was the complete version…”. This work fulfills that fantasy… no, it’s an unexpected masterpiece that surpasses all expectations. ★Project Overview – A new sound source from the popular 1975 Kobe performance. Digitized directly from the original master cassette. The sound is based on a new sound source that is at the top level among the sound sources related to this Kobe performance and is the longest recorded sound source, and the missing parts are filled in to make it the longest recording ever. There are a few cuts between songs, but the performance part is completely recorded.・Sound source arrangement ・Source 1…Analog LP record ・Source 2…Dressed To Kill (1CD) or Definitive Kobe 1975(1CD) ・Source 3…Kobe 1975 Alternate Master(2CD) ・Source 4… This disc/sound is the top level and longest recording disc sound source among the sound sources related to this performance. -The sound quality is a bit of a Dango-like monaural AUD, but surprisingly it has a good range from high to low range and is very natural. Compared to the previously released “Dressd To Kill” (1CD) or the remastered version of the same sound source “Definitive Kobe 1975” (1CD), there are some parts where this version is better, and some parts where I think the previous version is better. There is (maybe the vocals are better on the previous release?), but the stability is definitely better than the previous release. This is my first appearance, so I focused on the original sound and didn’t do much equalization. The recording time is considerably longer than previous releases and is the longest to date. There are some performance parts that appear for the first time on this album (the final part, See What A Fool I’ve Been, is included in the first complete version), and the introduction before the live performance and the waiting part for the encore are also longer than the previous releases. The final part of the W-033 and W-311 editions was unaccounted for, and this edition is about 30 minutes longer. Compared to the W-338 version of Source 3, this version is about 5 minutes longer. The total recording time after compensation is approximately 106 minutes. The second encore waiting section is recorded for about 3 minutes longer than the previous episode (almost none of it was included in the previous episode).On the other hand, there are some minor blemishes, and about 12 seconds are cut at the part where the members are introduced. This time, it is supplemented with the previously released Dressd To Kill sound source. The points of compensation are so smooth that they are almost indistinguishable. There are also three cuts at the second encore waiting section, but since the encore waiting section itself is almost not included on the previously released edition, there is no way to compensate, so this time it is left as is. Live at the International Hall, Kobe, Japan 23rd April 1975 PERFECT SOUND(from Original Masters)*New Source Disc 1 (65:20) 01. Procession 02. Now I’m Here 03. Ogre Battle 04. Father To Son 05. White Queen 06. Flick Of The Wrist 07. Doing All Right 08. In The Lap Of The Gods 09. Killer Queen 10. The March Of The Black Queen 11. Bring Back That Leroy Brown 12. Son And Daughter 13. Guitar Solo 14 . Band Introductions ★0:04-0:16Supplemented with source 2 15. Keep Yourself Alive 16. Seven Seas Of Rhye Disc 2 (41:05) 01. Stone Cold Crazy 02. Liar 03. In The Lap Of The Gods. ..Revisited 04. Big Spender 05. Modern Times Rock ‘n’ Roll 06. Jailhouse Rock 07. See What A Fool I’ve Been 08. God Save The Queen