Pink Floyd (2/Cd) Ariwara

A lot of artists came to Japan from the beginning of the rock dawn in Japan, and at the time the information was limited, there were many opportunities to actually witness overseas artists who could only know books until now, It was almost like a dream. And Pink Floyd ‘s Japan tour has been held three times. I visited Japan for the first time in 1971 and then in 1972. Amazingly, at the first visit to Japan, the concert was not held in Tokyo, it was only three times in total, once in Hakone and once in Osaka. Probably, most fans may have touched Pink Floyd’s stage for the first time in 1972, when he came to Japan for the first time.

In November 1971 Pink Floyd finished the tour accompanying the “meddling” release, and then will spend time again recording the next album. And the theme of the next work was to express “madness hidden inside the human being” by music. Such difficult and complex themes will be fruitful as “madness” after repeated elaborations, but the release had to wait in March 1973. Moreover, the tour schedule is organized during that time, and Floyd will make a choice to raise the level of “madness” through the tour. Indeed, “U.S. tour” which began at the beginning of the year of 1972 which had already been scheduled, “madness” is showing off as soon as possible.

It is now “crazy” that has solidified the position of historical name board including chart actions, but at the time it was stage as a pure pink floyd new song. For the first time for most audiences to listen to “madness”, the world view has an atmosphere that is not the usual, and it seems that he is just watching over a fantastic scene developed at the stage I can tell from the audience recording at the time. That series of extensions took place in 1972 ‘s Japan tour. Here again unpublished “madness” has already been played throughout the opening from the opening.

What is a stage for artists? Paul McCartney said, “Even in the Beatles era, songs such as” Sea Loves You “were more useful than new songs. It is a testimony that the audience feels pleasure in listening to the live music at the concert venue that the listeners heard so much as to be frightened by the record are well understandable. In addition, from the viewpoint of the artists, there might have been an intention to confirm the reaction of the song directly by showing new songs. Tours were also organized during the album production, and it seems that there was an intention to reflect the reaction at the stage in the album production during the recording process. Also, this is a phenomenon caused by the time difference between recording and release, but it seems that there was also an intention as a promotion, such as having to purchase an album to be released later because I want to listen to new songs played on the stage again. Perhaps it was for such reasons that Red Zeppelin was already recording on the stage yet actively playing the songs of the unreleased new album on stage.

But in the case of Pink Floyd, there seems to be another reason for not belonging to any of the above. On the stage of 1972, “whole crazy” is played from the opening, but it is playing the whole album more than one year ago from any release. And “Madness” which can be heard in this work etc, is “madness” released from the skeleton, but clearly speaking, I can not dispel the unfinished impression. It is another version that listens to studio out takes rather than incomplete. If there is a word other than the most different version, is it more likely that the expression is not yet matured? For Pink Floyd too, there would have been special consciousness for “madness”. Imagine that there was an unprecedented intention to increase the degree of refinement by repeatedly playing through the tour and approaching the perfect final shape.

It is the result that Pink Floyd’s “Madness” has no gap like that and it is a dense work without relaxation of tension all the time as a result of aging in the stage over a year. Things can be understood well. For future generations, only the album “Madness” will remain, but at that time, the fans who came to the live knew that for a long time the long-term maturation period supports that masterpiece ing. One part of it is the 1972 Japan performance recorded in this work.

A total of six performances are held in Japan in 1972, with Tokyo twice, Osaka twice, and Kyoto and Sapporo. It is a hard schedule even with the current eyes that the transportation network is developing, especially from Tokyo to Kyoto for 5 consecutive days. This work is recorded on the first day of its 7th March 1972 Tokyo Metropolitan Gymnasium performance. As mentioned earlier, “madness” is played full in the first half. Interestingly, the stage was originally introduced as “A Piece for Assorted Lunatics” at the stage of January, but the title has already changed as “The Dark Side Of The Moon” as of this March. The point that there is no Japanese title “crazy” yet. In addition, at the venue on the day, the lyrics card “The back of the moon – works for the mad maders -” was distributed to the audience. And it introduces that it is a new song released in the UK in November. It seems that the release scheduled for November 4 months lagged until March next year was still insisting on Pink Floyd seeking perfection.

From the performance of Pink Floyd ‘s 1972 visit to Japan, the first day of March 7 fully recorded the Tokyo Metropolitan Gymnasium. The first half plays “whole crazy” full story, the latter half of the songs already released. “Blowing Wind, Calling Arashi” was a song that symbolizes Pink Floyd for Japanese fans of that time, which was highly appreciated for the tour poster. Other, Eugene, Echoes, and mystery concludes the concert.

METROPOLITAN GYMNASIUM TOKYO March 7, 1972 DISC ONE 01. Speak To Me 02. Breathe 03. On The Run 04. Time 05. Breathe (Reprise) 06. The Great Gig In The Sky 07. Money 08. Us And Them 09. Any Colour You Like 10. Brain Damage 11. Eclipse

DISC TWO 01. One Of These Days 02. Careful With That Axe, Eugene 03. Echoes 04. Announcement 05. A Saucerful Of Secrets

Shakuntala. STCD-045/046