UK / Definitive Osaka 1979 / 2CD

UK / Definitive Osaka 1979 / 2CD / Virtuoso
Live at Koseinenkin Kaikan, Osaka, Japan 31st May 1979

Click Image To Enlarge

A big excavation for the first time in 41 years !!! UK A new source by stereo recording appeared at the Osaka performance in Japan in 1979! !!

At the end of the previous year, the legendary 79th U.K. performance in Japan, which was realized as a trio with the loss of Holdsworth and Bruford. The recordings at the Osaka performance at this time (* May 31, Osaka Welfare Pension Hall / Old Great Hall) have already been released, and many of them have been familiar as good-quality monaural AUD recordings for many years. It has been. I think that the one that was particularly famous and has established the image of Osaka in 1979 was “ONE NIGHT (UKCD791 / 792)” that appeared in the early 1990s, but this time, we greatly update the sound “stereo AUD recording “I got it from a top collector of this genre independently, and when I heard it, I was given the honor of confining the impact of the real sound of the day that was overwhelmed on the press board !!

The thick and core sound is a massive sound that is unrelated to sound pressure equalization. In other words, Wetton and Bosio have a tremendous amount of power, and the bass range of the drive feels like a perfect combination of the Jobson violin and the keyboard. Does not come out. There are still high-quality recordings of all performances in the recording of U.K.’s first visit to Japan in 1979, but in Osaka performance on May 31st
Never before has high quality stereo recording been introduced.

The dynamic punching power of the sound and the spread to the left and right unique to stereo, and above all, the bold and solid performance sound in the middle to low range … You should be surprised at how much the sound image you listened to was thin with dumpling-like sounds, the range was narrow and cramped, lacking precision, and the playing sounds were distant. However, on the other hand, this new source is recorded when the recording of “Caesar’s Palace Blues” of Angkor Last exceeded about 2 minutes at the beginning (* tape is out), on / off when transferring from the master There are some areas where there are gaps between a few songs for a few seconds. However, by carefully filling and connecting each missing part from “ONE NIGHT (※ from now on),” we maintain seamlessness and complete recording feeling, and by backing it up the power of the new source The entire performance of Osaka is completely contained in a disc.

Now, from the beginning of the performance of the enchanting new source, “Danger Money”, it will show amazing power. What is most surprising is the power of the clear and thick bass. Wetton’s beloved machine at that time, “Moog Taurus Bass Pedal”, was also deeply played and the heavy bass sound was recorded. This recording captures the power of direct hits. You will realize how lacking in power and lack of expression. The only thing that can make you realize it is “The Only Thing She Needs”, where the driving force of the rhythm corps that scribbles with the sounds of bones and Jobson, who emits a flowing melody, appears in a three-dimensional appearance like never before. Is. Especially in the middle part, the development of the instrument since he got the electric violin (* 5: 14 ~) has a dynamic sound that is sure to fall down, and the straight sound output with the axis of the song exposed It must be stunned. Wetton’s “Konbanwa, Genki?” Released after the song is also ultra clear enough to show its expression.

“Nothing To Lose” is also a high-resolution sound that is deeply pierced by the melody of the melody, and a heavy sounding attack with high propulsive force awakens sharp excitement at your ears. The bass solo that appeared after the end of the performance was already released and I heard it with a pretty sound, but with this new source, it appeared with a massive sound that far surpassed it. Every time you play, the loud deep bass that tells you that the seats of the Osaka Welfare Pension Hall / Old Great Hall were really shaking come out in a dense stereo that is not comparable to the already released board. Similarly, in “In The Dead Of Night”, the direct hit sound with extremely high resolution spreads, and the uneven and dynamic sound output of the rhythm unit is fused with the echo of Jobson, which releases the romantic passion, and draws a stunning tone color trajectory. I will. On the other hand, “Rendezvous 6:02” will be amazed by the clear sound of this source. Not to mention the melancholic melodies running through while maintaining the power of the tough sound with a transparent feeling, the singing voice of Wetton full of dandyism and the powerful diffusion of the sound of the synthesizer also make this source value.

Disk 2 starting with “Domo, Kimitachi Sai Kodayo” also has a stereo sound with amazing transparency. In “As Long As You Want Me Here”, Wetton’s vivid singing voice hits directly at zero distance, and the ups and downs and driving sound continue to expand the advantage with the already released board. The appearance of connecting the final song to the next song with a synth also has a strong diffusion of tones, and the appearance of echo on the vocal (* 5:10 …) is much more grasped than the existing sound. It should be noted that it is easier. In addition, “Carrying No Cross,” which rises in the loudness accompanied by the chirping of the ground, is also intense from “Stop !!” and should vibrate with a lively sound that makes you feel the scene of the day. Even though the core of the low range is barely exposed, there is no sound cracking or chattering, and the recording potential of the high range extending in all directions is just amazing. And for that reason, “Alaska” also has a deeply carved sound in the first half of the tone and the sound, and in the end it accelerates at a stroke and explodes with “Time To Kill”, creating a stunning listening response. I will come.

“Night After Night” compensates for the first 10 seconds of counting from the already released board, but the performance sound is recorded perfectly from the first note to the last song with this stereo source. The keyboard solo (* 3: 30-), whose approach was quite different on each performance day in 1979, is also heard here with a vivid stereo sound that is unique to the Osaka performance. “Caesar’s Palace Blue” is unfortunately there is only about 2 minutes at the beginning due to the remaining amount of tape, but the missing part is also connected by supplementing the existing board source with waveform 1/1000 I secured the seamless feeling of the performance and the complete feeling of the show. In other words, here the sound image shifts from stereo (= new source) to monaural (= that sound that we have been accustomed to for many years), but with this, how high quality this new source is It is also a scene where you can really feel whether you are expanding your knowledge of the performance on this day. Especially the closeness of the playing sound and the massive resolution in the middle range, the widening of the left and right range, and the difference in the texture of the bass that roars above all are tremendous, and it is promised to be amazed at the powerful real sound that finally appeared 41 years later. is.

There is no annoying voice or applause from nearby customers, and the zero-distance sound in front of the eyes is clear and the power of the low range continues to explode. The performance by these three people, who can no longer be realized, draws a big echo in the Osaka Welfare Pension Hall large hall before renovation, making us Japanese fans and their unity immortal the latest UK special work is. Please wait for this weekend’s release !!!

41年振りの大発掘!!! U.K.1979年初来日の大阪公演にステレオ録音による新ソースが電撃登場!! 長らく動きが無かった79年初来日時のU.K.音源史が今週末、大きく書き換わります!!!

前年末にホールズワースとブルーフォードが抜け、トリオ編成となって実現した伝説の79年U.K.初来日公演。この時の大阪公演(※ 5月31日、大阪厚生年金会館・旧大ホール)での録音はこれまで幾つかの既発盤が出ており、そのどれもが良質なモノラルAUD録音として長年親しまれてきました。中でも特に有名で79年大阪のイメージを定着させたのは1990年代初頭に登場した『ONE NIGHT (UKCD791/792)』だと思いますが、今回当店はそのサウンドを大幅に更新する” ステレオAUD録音 “をこのジャンルのトップコレクターから独自に入手、耳にすればその全員が圧倒されるこの日の本物の音の衝撃をプレス盤に封じ込める栄誉を授かったのです!!

その骨太で芯のあるサウンドは音圧稼ぎのイコライズとは無縁のマッシヴ・サウンド。言い換えるなら、ウェットンとボジオが凄まじい威力で放つドライヴ感満点の低音域にジョブソンのヴァイオリンと鍵盤が鮮明に重なるという、トリオU.K.を堪能するに最適の条件が幾つも重なったミラクル・サウンドなのですからもう言葉も出ません。79年のU.K.初来日を捉えた録音には全公演で質の高い録音が残っていますが、こと5月31日の大阪公演に
ここまで質の高いステレオ録音が登場したことは過去に例がありません。

そのサウンドのダイナミックなパンチ力とステレオならではの左右への拡がり、そして何より中～低音域の骨太で立体感溢れる演奏音…もうこれを聴いてしまうと私達がこれまで『ONE NIGHT』で聴いてきた音像がどれほど団子状のサウンドで薄っぺらく、レンジが狭く窮屈で精度に欠け、かつ演奏音に距離があるサウンドであったかに気付かされて唖然とする筈です。ただその一方でこの新ソースはアンコール・ラストの「Caesar’s Palace Blues」が冒頭約2分間を越えた辺りで録音が終わってしまったり(※ テープの残量切れです)、マスターからトランスファーする際のオンオフによって2・3箇所の曲間が数秒間途切れている部分があるにはあるのです。でもこれらは『ONE NIGHT (※ 以降、既発盤とします)』から各欠落部分を丁寧に補填・接続する事でシームレス性とコンプリート収録感を維持しており、そのバックアップによって新ソースの威力と大阪公演の全容を完全な姿でディスクに封じ込めています。

さてその魅惑の新ソース、「Danger Money」の演奏冒頭から驚異的な威力を発揮します。何より驚かされるのはその明瞭にして極太な低音域の迫力でしょう。ウェットンが当時の愛機” Moog Taurus Bass Pedal “を深く踏み込んで弾くベースの重低音もこの録音は直撃でその威力を捉えており、曲の導入部を聴いただけで我々が長年聴いてきた音がどれだけパワー不足で表情に乏しいものだったかに気付かされるのです。それを更に実感出来るのが「The Only Thing She Needs」で、ブリブリ・ゴリゴリと骨太の音で刻みまくるリズム隊の推進力と流麗なメロディを放つジョブソンとの対比がかつて無い立体的な姿で現れるのです。特に中間部、彼がエレクトリック・ヴァイオリンを持ってからのインストの展開(※ 5:14～)は卒倒確実のダイナミックなサウンドが拡がっており、曲の軸が剥き出しになったそのストレートな出音に唖然となるに違いありません。終曲後にウェットンが放つ「コンバンワ、ゲンキ？」も、その表情が見えるくらいウルトラクリアです。

「Nothing To Lose」も旋律の慟哭が深く突き刺さる高解像音で、推進力の高い重量感満点のサウンドアタックが耳元で鋭い興奮を呼び覚まします。終演後に登場するベース・ソロも既発盤でそこそこ綺麗な音で聴けましたが、この新ソースではそれを遥かに凌駕するマッシヴ・サウンドで登場。弾く度にビリビリと、大阪厚生年金会館・旧大ホールの座席が本当に震えていたと伝わるラウドな重低音が既発盤とは比較にならないほど濃密なステレオで出てくるのです。同様に「In The Dead Of Night」も極めて分解能が高い直撃サウンドが拡がり、リズム隊の凹凸豊かでダイナミックな出音がロマンティックな激情を解き放つジョブソンの響きと融合して見事な音色の軌跡を描いています。一方「Rendezvous 6:02」はこのソースが持つ澄み切った音の抜け具合にも驚かれるでしょう。タフな音の威力を透明感一杯に維持しながらメランコリックな旋律が駆け抜けてゆく姿は勿論、ダンディズム溢れるウェットンの歌声とシンセサイザーの迫力ある音色の拡散もこのソースの値打ちを上げています。

「ドモ、キミタチサイコダヨ」から始まるディスク2も驚異的な透明度のステレオ・サウンドが展開。「As Long As You Want Me Here」ではウェットンの生々しい歌声がゼロ距離で直撃し、起伏とドライヴ感満点の演奏音が既発盤とのアドヴァンテージを更に拡げ続けます。終曲部をシンセで次曲に繋いでゆく姿も音色の拡散が色濃く出ており、ボーカルにエコーが掛かっている様子(※ 5:10～)も既発サウンドに比べてその様子が格段に掴み易くなっている点も特記されるしょう。また地鳴りを伴うラウドさで浮上する「Carrying No Cross」も” Stop!! “から強烈で、当日の現場感漲る生々しい音に震撼する筈です。これだけ低音域の芯が剥き出しているのに音割れやビビリが全く無く、高音域も全方位に伸びている録音ポテンシャルにはただただ驚かされるばかりです。そしてそれ故に「Alaska」も前半の音色と響きが桁違いに彫りの深いサウンドで出ており、やがてこれが一気に加速して「Time To Kill」で炸裂する一連の流れが図抜けた聴き応えを刻んでくるのです。

「Night After Night」はカウントを取る冒頭の10秒間を既発盤から補填していますが、演奏音は冒頭1音目から終曲まで今回のステレオソースでパーフェクト収録。79年の各公演日でそのアプローチが随分異なっていた鍵盤ソロ(※ 3:30～)も、ここでは大阪公演ならではのあの旋律線がかつて無い鮮烈なステレオサウンドで耳に届きます。「Caesar’s Palace Blue」は残念ながらテープの残量切れで冒頭の約2分間程度しか音が残っていませんが、ここも欠落部分は既発盤使用ソースを波形1/1000で補填接続する事で演奏のシームレス感とショウのコンプリート感を確保しました。つまりここは途中で音像がステレオ(＝ 新ソース)からモノラル(＝ 私達がこれまで長年聴き慣れたあの音)にシフトする訳ですが、これによって今回の新ソースがどれほどの質の高さでこの日の演奏の知見を拡げているかをまじまじと実感出来るシーンともなっています。特に演奏音の近さと中音域のマッシヴな解像度、左右レンジの拡がり、そして何よりブリブリ唸りまくるベースの質感の違いは凄まじく、41年経ってようやく姿を現した威力満点のリアルサウンドに驚愕すること請け合いです。

近くに煩わしい客の話し声や拍手も無く、ひたすら明瞭で低音域の威力が炸裂し続けるゼロ距離眼前音。もはや実現不可能となったこの3人による演奏が改修前の大阪厚生年金会館大ホールで大きな響きの弧を描き、私達日本のファンとその一体性を不滅のものにする特級のU.K.最新作です。今週末のリリースをどうぞ首を長くしてお待ち下さい!!!

Disc 1 (45:26)
1. Intro ★既発補填
2. Danger Money ★冒頭から今回音源
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 – 最後まで補填
3. Carrying No Cross ★0:00 – 0:02 補填
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 – 最後まで補填
9. Caesar’s Palace Blues ★0:00 – 0:09 / 2:08 – 最後まで補填

★既発から欠落部分を補填し完全版としました。

John Wetton – Bass, Vocal
Eddie Jobson – Keyboards, Electric Violin
Terry Bozzio – Drums, Percussion

Virtuoso 424/425