UK,John Wetton,Eddie Jobson/Osaka,Japan 1979

Great excavation for the first time in 41 years!!! A new stereo recording source suddenly appears at U.K.’s first visit to Japan in 1979 in Osaka!! The history of U.K. sound sources from their first visit to Japan in 1979, which had not moved for a long time, will be greatly rewritten!!! Previous At the end of the year, Holdsworth and Bruford left and formed a trio for the legendary 1979 U.K. first tour to Japan. Several previously released recordings of this Osaka performance (May 31st, Osaka Welfare Pension Hall, Old Large Hall) have been released, and all of them have been familiar for many years as high-quality monaural AUD recordings. It has been. Among them, I believe that “ONE NIGHT”, which appeared in the early 1990s, is particularly famous and established the image of Osaka in 1979, but this time, the “Stereo AUD recording” that significantly updated that sound is a top collector of this genre. I was given the honor of containing the shock of the real sound of this day that overwhelmed everyone when they heard it!The solid and core sound has nothing to do with equalization to increase sound pressure. massive sound. In other words, it is a miraculous sound that combines many of the perfect conditions to enjoy the trio U.K., such as Wetton and Bozzio’s driving low range with tremendous power and the clear overlap of Jobson’s violin and keyboard. It doesn’t come out either. The recording of U.K.’s first visit to Japan in 1979 has high-quality recordings of all performances, but it is the first time in the past that such a high-quality stereo recording has appeared at the Osaka performance on May 31st. There is no. The dynamic punch of the sound, the spread to the left and right that is unique to stereo, and above all, the solid and three-dimensional performance sound in the mid to low range… After listening to this, you will realize that we have never heard of “ONE NIGHT” before. You will be stunned to realize how much the sound image you have been listening to has a dumpling-like sound, is thin, has a narrow range, is cramped, lacks precision, and has a distance between the performance sounds. However, on the other hand, with this new source, the recording ends after the first two minutes of the encore last song “Caesar’s Palace Blues” (* The tape is out of space), and there are many on/off times when transferring from the master. Depending on the song, there are some parts where there are a few seconds of interruption between songs. However, these have maintained seamlessness and a feeling of complete recording by carefully filling in and connecting each missing part from “ONE NIGHT (*hereinafter referred to as the previously released version)”, and with that backup, the power of the new source and The entire story of the Osaka performance is contained on the disc in its entirety. Now, the fascinating new source, “Danger Money”, will demonstrate its amazing power from the beginning of the performance. What surprises me most is the power of its clear and thick bass range. This recording directly captures the power of the deep bass tones played by Wetton playing his favorite instrument at the time, “Moog Taurus Bass Pedal,” and just by listening to the introduction to the song, we can hear the sound we’ve been hearing for years. It made me realize how lacking in power and lack of expression it was. This is even more evident in “The Only Thing She Needs,” where the contrast between the driving force of the rhythm section, which beats with its strong, gritty sound, and Jobson, who releases a flowing melody, appears in an unprecedented three-dimensional form. It is. Especially in the middle part, when he picks up the electric violin, the instrumental development (* 5:14~) is a dynamic sound that will surely make you faint, and the straight sound that exposes the core of the song. I’m sure you’ll be stunned. Wetton’s “Kombanwa, Genki?” after the song is so clear that you can see his expression. “Nothing To Lose” is also a high-resolution sound that pierces deeply with the melodic lamentation, and the propulsive and weighty sound attack awakens sharp excitement in your ears. The bass solo that appeared after the performance was heard with a reasonably beautiful sound on the previously released version, but this new source has a massive sound that far exceeds that. Every time you play it, you can hear the loud, heavy bass that made the seats in the Old Great Hall of the Osaka Welfare Pension Hall tremble, and it comes out in stereo with a richness that is incomparable to the previously released version. Similarly, “In The Dead Of Night” has an extremely high-resolution direct sound that spreads out, and the rhythm section’s rich and dynamic sound output blends with the sound of Jobson unleashing romantic passion, creating a wonderful tonal trajectory. Masu. On the other hand, “Rendezvous 6:02” will surprise you with the clear sound quality of this source. Not only does the melancholic melody run through while maintaining the power of the tough sound with full clarity, but also Wetton’s dandy-like singing voice and the powerful tonal diffusion of the synthesizer make this source highly valuable. Disc 2, which begins with “Domo, Kimitachi Saikodayo”, also features stereo sound with amazing clarity. In “As Long As You Want Me Here”, Wetton’s vivid singing voice hits directly at zero distance, and the performance sound full of ups and downs and drive continues to further expand the advantage compared to the already released version. The way the final song is connected to the next song with a synth also shows a strong diffusion of tone, and the way the vocals are echoed (from 5:10) is much easier to grasp than the previous sound. It should also be noted that it is easier. In addition, “Carrying No Cross”, which emerges with a loudness accompanied by an earth rumbling, is also intense from “Stop!!”, and you will be shocked by the vivid sound that will make you feel at the scene of the day. Even though the core of the bass range is exposed, there is no crackling or chatter, and the recording potential of the treble range extends in all directions, which is simply amazing. And for that reason, the first half of “Alaska” also has an exceptionally deep tone and resonance, and this suddenly accelerates and the series of explosions in “Time To Kill” create an outstanding listening experience. It’s coming. For “Night After Night”, the first 10 seconds of counting are supplemented from the previously released version, but the performance sound is perfectly recorded with this stereo source from the first note to the last song. The keyboard solo (* 3:30 ~), whose approach was quite different on each performance date in 1979, is heard here with the melody line unique to the Osaka performance in a vivid stereo sound that has never been seen before. Unfortunately, the tape for “Caesar’s Palace Blue” ran out of space, so only the first two minutes of the sound remain, but here too, the missing parts were made up by connecting the source used on the previous release with a waveform of 1/1000. We ensured a seamless performance and a complete show. In other words, the sound image shifts from stereo (= new source) to monaural (= that sound that we have been accustomed to hearing for many years), but this shows how high the quality of this new source is. It is also a scene where you can really feel how much you are expanding your knowledge of the performance that day. In particular, the closeness of the performance sound, the massive resolution of the midrange, the expansion of the left and right range, and above all, the difference in the texture of the bass that roars and roars are amazing. You will be amazed by the powerful real sound that has finally appeared after 41 years. is. Zero-distance sound with no annoying chatter or applause from nearby customers, and a clear and continuous explosion of power in the low range. The performance by these three artists, which is no longer possible, will echo in the large hall of the Osaka Welfare Pension Hall before renovations, and will immortalize our Japanese fans and their unity with this special U.K. latest work. is. Live at Koseinenkin Kaikan, Osaka, Japan 31st May 1979 TRULY PERFECT SOUND(from Original Masters) Disc 1 (45:26) 1. Intro ★Compensation for previous releases 2. Danger Money ★This time’s sound source from the beginning 3. The Only Thing She Needs 4 Nothing To Lose 5. John Wetton Solo (Improvisation) 6. By The Light Of Day (Ending) 7. Presto Vivace 8. Terry Bozzio Solo 9. In The Dead Of Night 10. Rendezvous 6:02 Disc 2 (51:02 ) 1. As Long As You Want Me Here 2. Thirty Years ★6:32 – Compensation until the end 3. Carrying No Cross ★0:00 – 0:02 Compensation 4. Alaska 5. Time To Kill　 6. Eddie Jobson Solo 7 . Time To Kill(Reprise) 8. Night After Night ★0:00 – 0:10 / 5:05 – Compensation until the end 9. Caesar’s Palace Blues ★0:00 – 0:09 / 2:08 – Compensation until the end Already We have added the missing parts from the original to create a complete version. John Wetton – Bass, Vocal Eddie Jobson – Keyboards, Electric Violin Terry Bozzio – Drums, Percussion