U.K. UK/LA,USA 1978 Upgrade

U.K. in 1978, who appeared on the scene with the ideals and hopes of British progressive rock. Two superb live albums that will update the highest peak record will be released at the same time. The newns performance”. If you have noticed this article, you will have already noticed. This work was once a famous recording that was also loved as “THE ONLY THING WE NEED”. However, ev albums that will be released at the same time are the soundboard recording and audience recording, which are the apex of the debut tour, and have been upgraded. This work is a superb audience recording of the latter, “September 27, 1978 New Orleaen though the recording is the same, it is very different from the conventional version. It is the 1st Gene Master that appeared very recently, and it is a newly excavated board that is attracting attention for its finely polished sound. Before the quality of the worrisome quality, let’s start with the position of the show. Let’s look back on the journey of the original U.K., which collapsed just six months after its appearance. {March: Release of “U.K. (Four Patriots)”} ・April 29-May 15: UK (13 performances) ・June 23-August 8: North America #1 (26 performances) ←※SBD mass production period ・September 8-October 8: North America #2 (17 performances) ←★This work★ ・November 9: Cleveland performance ←※PHILADELPHIA 1978 {November: The four-piece disbanded → Production of the second album began} This is the U.K. in 1978. Their debut tour is also famous for the fact that many soundboards were left behind, but most of them are records of “North America #1” (for detailed collection organization, please refer to the commentary of “EL MOCAMBO 1978” released at the same time). In contrast, the New Orleans performance of this work is the second part of the US tour, which took place with about a month off. It was the ninth concert of “North America #2”. The vacuum-packed recording of such a show was legendary as “the strongest original U.K. audience recording.” When the previous album “THE ONLY THING WE NEED” was released, it was highly praised by specialist magazines as “the highest peak of audience recording” and “ultra-high sound quality comparable to a soundboard.” The on-core and fine details are outside the common sense of customer recordings, and it is neither sparse nor explosive, and yet the bass that roars with a powerful force is so powerful that I can’t believe my ears, “Is this a 70’s spatial recording!?” This work is the latest edition that updates the highest peak of such legendary recordings. It was announced very recently by an overseas maniac, and the 1st Gene Master was polished by remastering. The remastering accuracy is not half-baked. Precise pitch correction is a matter of course, and the balance and separation are organized for each frequency, and the phase is also corrected to the center. In addition, the tape change cut and sound drop correction … We faithfully but thoroughly perform the basics of the basics that we value in our store. There are some parts that we added to our shop, such as uneven tape rotation and a small amount of noise, but basically, we followed the same concept and just corrected the “failed fixes”. On the other hand, this maniac also carries out a process that we don’t do often at our shop. That is, processing of audience noise. The loud screams of the audience are suppressed and whistling is processed quietly. The applause that occurs during the performance is also (partially) removed. This is a matter of pros and cons, and in our usual shop, we try not to touch it as much as possible. Although it is easy to affect the sound of the performance, we place the utmost importance on the reality of the site and history above all else. However, this is just a difference in aesthetic sense. If you think of a live album as a “record”, realism is the most important thing, but if you think of it as a “musical work”, the proposition is to bring out the live performance to the fullest. This work is assembled with the latter policy. In fact, the sound is the best it has ever been. Each of the tasks listed above is small, but even dust accumulates and becomes a mountain. The sense of stability that is well-balanced, the tight outline, and the density of the core that even feels responsive are incomparable to the conventional version. It is a replacement for the soundboard that represents “North America #2″… No, the distinction between the soundboard and the audience is no longer meaningful. Such a reborn sound depicts the precious full show of “North America #2”. It may be a little late, but let’s organize the set here. Four Patriots B-side: Alaska/Time To Kill A-side: Thirty Years/Presto Vivace/In The Dead Of Night Others Danger Money: The Only Thing She Needs/Carrying No Cross/Caesar’s Palace Blues One of a Kind: The Sahara Of Snow … and so on. Each song is familiar, but the balance of the increased repertoire of “DANGER MONEY” and “ONE OF A KIND” is full of the mood of the later part of the tour. And more than that, it is the performance itself that spells out the set. It is clearly more mature than “North America #1”, which produced the representative soundboard group, and the performance has improved as much as the number of experiences has increased. In particular, Bill Bruford plays free-spirited and polyrhythmic drumming, and does not lose sight of the beginning of the bar like in the early part of the tour. It is difficult to measure when the collapse became decisive, but the performance clearly shows that the ensemble continues to evolve and try and error, and you can enjoy a lot of ensemble that has not started to rot even if it has matured. “North America #2” is different from “North America #1”, which left many soundboards, and the final Cleveland performance. In a sense, it is a live album where you can fully experience the most delicious ensemble with the super rooftop sound of barefoot soundboards. A masterpiece among masterpieces that precisely polishes the legendary recording 1st Gene Master. A super-class audience recording of “September 27, 1978 New Orleans performance”. This legendary recording is known as “the best guest recording in 1978,” and is the highest peak ever, meticulously mastered from the 1st Janet master. The on-core and fine details are beyond the common sense of guest recordings, and the bass is neither sparse nor explosive, yet it is so powerful that you can’t believe your ears and ask, “Is this a 70’s space recording!?” There are many soundboards left from the 1978 tour, but the exception is the “US Autumn Leg,” which you can fully experience with superb sound. (Remastering Memo) Wow-flash (rotation unevenness) correction. Pinpoint correction of strange parts within the range you noticed. Only slight EQ processing. There was a slight high-frequency shasha noise, so this was corrected. Live at Ole Man Rivers, New Orleans, Louisiana, USA 27th September 1978 ULTIMATE SOUND(UPGRADE) (62:41) 1. Alaska 2. Time To Kill 3. The Only Thing She Needs 4. Carrying No Cross 5. The Sahara Of Snow 6. Thirty Years 7. Presto Vivace 8. In The Dead Of Night 9. Caesar’s Palace Blues John Wetton – Vocal & Bass Eddie Job son – Electric Violin, Keyboards & Electronics Allan Holdsworth – Guitars Bill Bruford – Drums & Percussion