UK John Wetton,Eddie Jobson/France 1979 Upgrade

Approximately 90 minutes of upgraded version of the 1979 Paris sound source, which is most famous and a classic among fans, from U.K., a trio formed after Terry Bozzio joined. In recent years, it is a shocking master quality version that has suddenly appeared, and it has very excellent content that makes all past releases, including “Parisian Rendezvous”, unnecessary. First of all, there is no doubt that the tape generation is younger, the freshness of the sound is more vivid and clear, the difference in sound quality is obvious, and the hiss noise in quiet parts is far less compared to the previous ones. . The decisive thing is that the intro of Danger Money starts with a cut-in instead of a fade-in, and next, “Improvisation” (Bass Solo), which has been recorded at the beginning of Disc 2, starts with a cut-in, In this version, the first four seconds of the bass solo, which was probably recorded at the end of side A of the original tape, are recorded before the cut-in, and the cheers after the end of Ceasar’s Palace Blues have already been heard. It is recorded for 10 seconds longer, and you can check the advantages unique to the master in various places, such as hearing Wetton’s French greetings that have not yet been released. With the appearance of this take, it is now possible for the first time to listen to the song interval of Nothing To Lose ~ Bass Solo from the Paris performance, which is a historical sound source, without a disc divide. Until now, I don’t think anyone suspected that this Paris performance was a soundboard sound source because of the ultra-high sound quality, but in recent years, a taper who seems to be the recorder has posted on the Internet, “This is an audience recording that I recorded.” This statement greatly surprised collectors around the world. It is true that the musical sound itself is a sound that can only be achieved by line recording, but John’s MC between songs certainly sounds like a microphone recording. (Try playing the MC before Rendez-vous 6:02. Also, Bozzio’s introduction after the drum solo, etc.) So, this was recorded with a stereo microphone fixed in front of the PA. is it? (Currently, the detailed explanation on the Internet where this sound source was released is written as “Lineage: Soundboard”…) What is even more surprising is that until now it was believed that this sound source was from the Paris Pavilion performance on February 20th. However, following Taper’s statement, “This is the Le Stadium show on March 13th, because I was there,” ticket photos were posted online, and as a result, this time’s performance… Following the release of the upper version, its history was falsified, from the sound source to the date and venue name (a photo of the ticket is also included on the jacket). Furthermore, at the same time, a genuine audience take source of this day, which had not been available until now, was announced, much to the surprise of collectors. Perhaps the PA on the day was very good, although it is not as good as this press edition, it is also recorded with sufficient high sound quality. (You can hear the cheers that are completely different from the previous sound sources, and above all, the sound image itself is completely different, so it is definitely a different sound source and the first time it has appeared in history.) This is a recording of 84 minutes, which is 6 minutes shorter than the line recording. Thankfully, the beginning of the bass solo was recorded uncut, so for the first time ever, you can listen to the improvisational part of this day in its entirety from the beginning. This time, we took advantage of the first 4 seconds of the upper version source’s first appearance, naturally inserted a new audience take there, and then naturally returned to the original source around 28 seconds. As a result, we created the longest version with the best sound. The edition is realized. This part of the process is done very well, and unless it’s pointed out to me, I don’t think it would be obvious to normal listeners. (To that extent, the audience source that appears for the first time this time is also very high grade.) The freshness and stability of the sound of the upgraded version used in the main is very good until the end. By comparing it with the main version, it can be determined that the previously released version is a take that has been made by equalizing the dubbing tape to boost the sound, and in fact, the quiet parts and hiss noise between songs are modulated and are quite bad. It has been, and you can confirm the superiority of the sound and freshness of this board from such parts. In any case, the definitive sound source of the classic 1979 Paris performance has finally appeared, which is good news for collectors after a long time, and allows you to enjoy the high level of UK performance and charm of this period with the highest level of sound. It can be said to be the best piece for fans. As befits the appearance of the definitive take, there are also plenty of bonus tracks, starting with the familiar single versions of Nothing To Lose and In The Dead Of Night, as well as the single version of Night After Night, which was included on the B side. Unreleased songs When Will You Realize? Next, from the rare live take, Danger Money and The Only Thing She Needs from the Tokyo performance on May 29, 1979 are recorded in super high-quality audience takes. This is also re-recorded from the master tape, and was recorded at a fast pitch in the bonus of “Danger Unit” (Sirene), but this time it was recorded at the correct pitch. The last song includes the rare song Waiting For You from the Hamburg performance on December 9th. 1 Live at Le Stadium, Paris, France 13th March 1979 TRULY PERFECT SOUND(Upgrade) Disc 1 1. Danger Money 2. The Only Thing She Needs 3. Rendez-vous 6:02 4. By The Light Of Day 5. Presto Vivace 6. Drums Solo 7. In The Dead Of Night 8. Nothing To Lose 9. Bass Solo 10. Thirty Years 11. Carrying No Cross Disc 2 1. Alaska 2. Time To Kill 3. Violin Solo 4. Time To Kill(reprise ) 5. Ceasar’s Palace Blues Bonus Tracks 6. Nothing To Lose (Single Version) 7. In The Dead Of Night (Single Version) 8. Night After Night (Single Version) 9. When Will You Realize? (Unreleased Track) Live at Nakano Sunplaza, Tokyo, Japan 29th May 1979 10. Danger Money 11. The Only Thing She Needs Live at Audimax, Hamburg, Germany 9th December 1979 12. Waiting For You John Wetton – Bass, Vocal Eddie Jobson – Keyboards, Electric Violin Terry Bozzio – Drums & Percussion