UK John Wetton,Eddie Jobson UK/PA,USA 2015

This is a complete recording of the Philadelphia performance on April 23, which was the middle day between the three US performances held prior to the Japan performance. These three US performances in April were not only the first performances with Mike Mangini on drums, but also important performances where the lineup was hastily rearranged due to the departure of Chad Wackerman, and the performance in the final lineup for the final performance in Japan was tried for the first time in a real battle. One feature is that “Nothing To Lose” is not in the set, but the biggest difference is that there are many changes and strengthening in the rhythm with Mangini on drums. Also, interestingly, the guitar sound, which is usually not very noticeable, is picked up up close, so it is a big topic that Alex’s colorful expression can be well understood. Since the venue is a “stage attached to a cafe where you can eat” with a capacity of 200 to 300 people, the keyboard solo (※ “Ballooning Over Texas” is performed as in the Japan performance) includes the surrounding sounds that seem to be eating, and the recording sound that exudes the realism of the venue is also an interesting feature. The flow of the show is basically the same as the first leg of the European tour, but as soon as “Thirty Years” starts, you will be astonished. After all, all the musical tones are very close and clear, the bass and drums produce tough and fat sounds at close range, and the violin and the guitar, which is usually not noticeable, are firmly asserted, so the colors of the ensemble spread out very gorgeously. Of course, Wetton’s singing voice is also close and very clear. In “Carrying No Cross”, the sound density is very high, and even in the part where only the singing and keyboard tones proceed, the dense close-range sound moistens the ears. The effect of applying echo to the snare just before the final song is already included (from 10 minutes 30 seconds), and it has an impressive color just like the Japanese performance. The development from the middle of “Alaska” onwards has a stronger sense of speed and tension than the two Japanese performances, and it is also noteworthy that the performance is on a completely different level. It makes you wonder why they were playing it safe during the two Japan shows when they could have produced such a great groove. “Time To Kill” also rolls with a rugged sense of speed and a comfortable hook, and the violin singing on top of it jumps out with a beautiful sound at close range. “Rendezvous 6:02” was already tried out as a band ensemble version prior to the Japan show, and it shows a considerable degree of completion at this point. The ensemble emergence scene in the middle is mild and does not emerge as suddenly as in the two Japan shows, and it is also noteworthy that the crash cymbal effect has already been added in the latter half. “In The Dead Of Night” also has a very strong rhythm, and is completely different from the performances of predecessors Virginal Donati and Marco Minnemann. When Terry returned to the band in 2012, everyone must have felt that the drums would make such a difference, but the same surprise is present here, and it can be said that it is a performance that intuitively understands why Mangini put his name on the final lineup of U.K. The guitar approach that comes out in the middle part is also remarkable, and Alex’s contribution, which is not usually noticed, is also a highlight. “Caesar’s Palace Blues” also has a strong percussion sound from the beginning, and the dynamism and pulse of the song due to the lively rhythm are conveyed with a transparent straight sound. The flow towards the final song, led by the violin, is surprisingly high in kineticism, and it is completely different from the two performances in Japan, which were a bit of a safe drive, and it is no exaggeration to say that the sharpness of the aggressive performance in the second half is the biggest highlight of Disc 2. “The Only Thing She Needs” also has a vivid driving feeling that overflows throughout the performance and runs through the body with a superb sound. Please pay attention to the scene in the middle where the violin and guitar intertwine and play each other’s lead melodies, which moistens your ears with a vivid sound. After listening to it, everyone will probably be surprised and think, “Maybe it’s even better than the Japanese performance…?” It’s true that this gig was a combination of Mangini’s actual deployment and adjustment, but it’s also a big fact that the performance has a fresh and vivid momentum. Live at World Cafe Live, Philadelphia, PA. USA 23rd April 2015 TRULY PERFECT SOUND Disc 1(60:18) 1. Thirty Years 2. Nevermore 3. Carrying No Cross 4. Alaska 5. Time To Kill 6. Night After Night 7. Keyboard Solo 8. Violin Solo Disc 2(50:37) 1. Drum Solo 2. Rendezvous 6:02 3. In The Dead Of Night 4. By The Light Of Day 5. Presto Vivace & Reprise 6. Forever Until Sunday Encore: 7. Caesar’s Palace Blues 8. The Only Thing She Needs 9. Carrying No Cross (Last Verse) John Wetton – Bass, Vocals Eddie Jobson – Keyboards, Violin Alex Machacek – Guitar Mike Mangini – Drums, Percussion