UK / The Final In Japan / 4CD

UK / The Final In Japan / 4CD / Virtuoso

Translated Text:
Namba Hatch, Osaka, Japan 27th April 2015 & Nakano Sunplaza, Tokyo, Japan 30th April 2015


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Like the Queen and Cheap Trick, Japanese fans will quickly evaluate the appeal, grow, love, band and continued watching, UK. Its dissolution, and final performances Japan 2 performances of April that took place as, Namba Osaka Hatch, and four sets of press CD was recorded completely uncut Perfect in the strongest last of the brave figure each sound in Tokyo Nakano Sun Plaza is weekend finally now, we emerged from our shop. As you know this Final World Tour has a short time to production from the announcement, also twin drum configuration with Chad Wacker Man and Mike Mangini who was scheduled not lead to the realization from health reasons Chad family have enough, etc., it was a tour that includes the various and topic and eventful between short. But even that was down the curtain on its activities to the souvenir Place the wonderful final performance, I think that everyone that visited the venue felt. This time, use care to more than usual as our shop only a memorial performances that feelings of those about 35 years worth of fans clogged, it is a translation that is aimed at quality you are able to fully convince towards the fan. But from other label has come out also the title that has been prematurely released as a CD-R, the shop did not do so is the title that was recorded a figure drawn is “curtain call” in the best sound in the history of the band and because I wanted to, this work has become enhancement of press platen 4CD the finish worthy of it was realized !!

The he faces the recording will continue to present a number of names recorded in our shop, now reckoned is handedly taper in the recording of the Kansai district, West strongest taper Mr. He is the first reason that we have received in charge of Osaka performance of April 27 to, but this time the other one, experienced name taper Mr. 30 days here has also continued to wow the person who listen to recordings of many years fumigation silver · Nakano Sun Plaza was please special offer superb recording of performances. When recording by this East-West name taper is reached on the label was “Rendezvous”, and it became a staff stunned. Because after all it is was a “Rendezvous” of much more than the finest recordings expectations of here !!

Let’s describing the recording position information to be worried about. First, is the Osaka Namba Hatch which is recorded on the disk 1 and 2, but the name taper who knows the characteristics of the sound of the venue is not Minagira the best position and confidence, second floor front row was recorded the name title of a number in the past This is a recording from the middle mode. This and the same position in the Night Ranger of the name board “HIGH ROAD IN OSAKA (ZODIAC 085)”, “WINGS OF TOMORROW full reproduction” Europe of this year in January that called the topic of Japan tour Ketteiban “WINGS OVER JAPAN (ZODIAC 107) “, and the other also of Asia” OSAKA 2008 – IN FRONT OF HOWE “and” OSAKA 2012 “, etc., we have recorded a number of name title. And it is now also a successful best recording dazzling from the best position. On the other hand, recording the position of the Nakano Sun Plaza, which is noted in the final performance is the central stage closer to the 1 floor seats 7 column. You might not pin To come to hear only seat number, but actually reach straight from the sound the front of the sound, it is also a block sound that was also full of most stereo from the left and right arrives. Those who’ve visited the venue I think you know, but this hole is not on the first floor the first column is the front row, is a special seating arrangement where there is a thing called column 0 as a movable seat. Also, instead of the 0-row and one column in a slightly look up position To receive the sound of the front row fastball out of the podium since the height of the stage there is decent, the height of the the auction up to the stage at an angle as much as their own three columns to 8 rows center that comes to the position will be the best. That fact, when considering the acoustic surface is a translation that has been recorded in a pretty good position. Both of course both sound source in the original recording that does not come out at all on the net has become a uncut complete recording, the closeness of the clear sense and be sharp and tough bass, and does not feel the distance sound output is eye-opener I have. Recording equipment are also using the latest thing, so also included microphone uses something that directly reproduce the sounds of realism and Hall, treble elongation and amplitude of, and in the left and right of the sound image that spread is even greater width that it should be your realize it is !!

Being based on such recording information, first let’s will introduce from Osaka performances on disc 1 and 2. “Thirty Years” is solo early in the Wet ‘n’ will come out in a very transparent high degree of sound, “I do is record the sound in power why so close to a second floor?” This introduction only heard the sound of the scene and, it might incline the neck to the recording Magic. Performance will not draw a hitch strong sound while base beat Buriburi from start moving, but it also has become a major topic of this recording of this powerful bass sound is heard well up to the show. “Carrying No Cross” is has been recorded in the sound contrast between the first half and the second half came out well, melody coming out moment in 6 minutes 21 seconds to 22 seconds just before the keyboard begins to sing is also unique (※ put out solo and you wonder are confirmed by calling the tone). How the bass and drums from 10 minutes and 45 seconds late rage violently also has something very close to that of Terry and Wet ‘n’ of bygone days, has become a scene that can be glimpsed in fully the power of Manjini. This “Manjini effect” and also said the scene is also in “Alaska”, labor and slapping sound representation from 2 minutes and 53 seconds it would be attention’re quite unlike Donati of representation of the past. The “Time To Kill” has been created is DRIVE sense of the finest by intense tag with the shift to old-timers of rhythm veteran = Wet ‘n’ also from the, pleasure Mel’s of books recording these state is a high sound transparency It is attractive. In “Night After Night” in beat features firmly remain sound in the ear that exists in the middle tempo, this is also nice point gives us a deep listening meet as opposing the presence and melody of singing and keyboard. “Rendezvous 6:02” is made to this dissolution tour final leg has been revived as the first band performance version, contrast with the chunky tone from the quiet part and middle development of the front and rear have been recorded in a truly dramatic sound image You. It in the second half song Manjini is there is a distinctive approach to put regularly crash cymbal (iron plate?), But (※ ~ 4 minutes 49 seconds), this is the pleasure Mel also points a brilliant sound quality. And about “Nothing To Lose”, which was played in 2 years this day, there is a base raise and lower the sound type (3 minutes and 36 seconds to) unusual movement after the violin solo, 1 in the final stage 4 minutes 34 seconds to finale The unique is also’re changing the sound of the keyboard for each phrase. “In The Dead Of Night” There is whether once the music is interrupted such scene was misunderstood a song structure in front entering the guitar solo, but has recorded pat superb sound quality of even skilled taper interesting performances with such this day unique. “Caesar’s Palace Blues” is the decided finale part of the approach is also perfect to be the northeast, in addition to the Manjini you’ll move from the up-tempo in the coder hammering is also out with a brilliant sound, “The Only Thing She Needs” is also bouncy drumming Buriburi groan-based combination will pop out in particular on the sound of the explosion feeling and uplifting feeling perfect score with. After the show has also continued to record about three and a half minutes, it also includes “UK! UK!” Call and after the show announcement that arise again, even adequacy as a memorial recording is perfect.

Disk 3 and 4 uncut complete recording of the Nakano Sun Plaza concert was the final performance as a band. In other final performance as a band has become a disc that Semareru in fine original recording that does not listen. Dense sound will moisten every corner of the ear from the beginning, but it should have noticed able also to “collision force of sound” tough in clash is range of each instrument. Although this is thought of as a benefit of the position of the seat, who wrote a little at the beginning, and not mean that captures pat flow of sound to come and go from the left and right firm to receive while the sound from the front, gradually this is from the middle Atari of “Nevermore” I think that it is felt to. “Carrying No Cross” keyboard timbre select of selection mistakes that Eddie is perpetrate well (※ the day there mood also possible that you’re doing intentionally in but) it has vividly been recorded up, the keyboard is in the middle of the expansion unit later of melody and code accent is I’m picking up a good sound the prospect of state in which committed shine bright and drum everywhere. “Alaska” in the deployment from the middle (to 2 minutes 59 seconds) and have become a rugged expressed in tough than the Osaka performance of the disk 1, concerted dialogue of the final performance unique would’ll charm you. This is the “Time To Kill” appears you so check it out as well as comparison with the middle of the melody dancing brilliant violin solo and the rhythm of rugged tough sound. “Night After Night” is Vaud Cali zation that impassioned of Wet ‘n’ is impressive, it is attractive to sing you earnestly to best twist fist jumps out good quality sound is the same song that was played in the past few years. This will far from great to hear even in this performance. “Nothing To Lose” is run through a high sound image of the delicate playing transparency, is a place of it is interesting slightly unstable though performance contour of the song by the clear singing melody and a grain of uniform drumming are felt firmly. “Forever Until Sunday” to expand the Osaka performances similarly dense performance, the intersection of the melody that appears in the drifting sound has been recorded in the Perfect. This unreleased songs have been played in UK of various lineup in the past, and what can be called the final play in the final form of the last lineup Meien was left here would not be a big joy. The “Caesar’s Palace Blues” final performance even higher fusion sense of rhythm and melody from the beginning of, how the phrase also has been traveling around well sung of violin You can check the sound shiny. Match of the finale portion is also not too much racing, it would be interesting also features what time stable are without. “The Only Thing She Needs” at stake and the multi and colorful striking sound effects of Eddie keyboard and violin melody of sound number of Manjini it has caused a dazzling chemical reaction, show a variety of facial expressions in the highly transparent sound image I think that it is found the representation everywhere. Had to leave singing in a small beginning “Carrying No Cross” final verse and Wet ‘n’ has finished singing the band will close its history, then to arise “UK! UK!” Call continues much longer than Osaka performance, field of hot air When the deep reverberation and Inspiration also containment perfectly.

That those who carried the foot in this final performance would probably feel, “Oh, this I wonder I had really ended with” I think what was deep emotion of that. And it would not at the same time, also to the musical richness than came with a jerk? “Wet ‘n’ had Koede, Manjini it was amazing,” I think that there is such as impressions, etc., but they are rather than simply end with gratitude and nostalgia for that final performance, the final play to challenge it in anticipation of the future “in the unyielding “and I think to have been reminded somewhere in that it had a. Certainly also the scene rehearsal shortage has glimpses are scattered, for example, of Osaka performance “Night After Night” and in Tokyo Nakano “Nothing To Lose” might be the best example. But then you think fulfillment and high musical fusion feeling more than lightly it is precisely the point that was overflowing there was a merit of this final performance, those who actually carried the foot that “the challenge performance and appearance” You should that what struck my heart to. Probably to how this Japan 2 performance is supposed to be the band side had been recorded, there will be enough potential to be released as official version is also at the end of the year and next year Atari. But this time, or songs that were playing deviation and mistakes will be cut, or such as fixed in Over dub, it should release fix definitely sound. But it should you can see if those who have been listening to the long boot leg that dwells the true power of music precisely to that fresh “and challenge the performance” I heard the other day. To what that you can relive it in the full uncut best record, is this East-West handedly taper there is a maximum of significance both recordings captured. Excellent point also of rehearsal lack point of playing formation also, when in contact with this work eject at best Real sound enough to unnerving, he in a kit skin feeling the joy of what we’ve come alive – the same age as this band You feel you will enjoy. UK Final performances of favorite sound source Virtuoso label that has gained the absolute confidence and trust in the quality shoot at the end of this week, certainly please expected !!

★ full uncut superlative recording machine that was implemented by the East-West name taper two golden tag of skill!


クイーンやチープ・トリックと同じく、日本のファンがその魅力をいち早く評価し、育て、愛し、見守り続けたバンド、U.K.。その解散・最終公演として行われた4月の日本2公演、大阪なんばHatch、そして東京・中野サンプラザでの最後の勇姿をそれぞれ最強のサウンドで完全ノーカット・パーフェクト収録したプレスCDの4枚組が遂に今週末、当店から登場致します。御存知の通りこのファイナル・ワールド・ツアーは告知から実働まで時間が短く、また予定していたチャド・ワッカーマンとマイク・マンジーニによるツインドラム構成がチャドの家族の健康上の理由から実現には至らなかったり等、短い間に色々と話題と波乱を含むツアーでした。しかしそれでも素晴らしい最終公演を置き土産にその活動に幕を下ろした事は、当日会場に足を運んだ誰もが感じた事と思います。今回はそうした約35年分のファンの想いが詰まったメモリアルな公演なだけに当店としてもいつも以上に気を使い、ファンの方に充分納得して戴けるクオリティを目指した訳です。他レーベルからはCD-Rとして早々にリリースされたタイトルも出ていますが、当店がそうしなかったのはバンドの歴史に最高のサウンドで” カーテン・コール “が引かれる姿を記録したタイトルにしたかったからで、本作はそれに相応しい仕上がりが実現した充実のプレス盤4CDとなっています!!

収録に臨んだのは当店でも数多くの名録音を提示し続け、今や関西地区の録音では一目置かれる凄腕テーパー、西日本最強テーパー氏です。彼にまず4月27日の大阪公演を担当して戴いた訳ですが、今回はもう1人、こちらも長年燻し銀の録音で聴く者を唸らせ続けてきた熟練の名テーパー氏が30日・中野サンプラザ公演の極上録音を特別に御提供下さいました。この東西名テーパーによる録音がレーベルに届いて” Rendezvous”した時、スタッフ一同唖然となったのです。何しろそれはこちらの予想を遥かに超える極上録音の” Rendezvous”だったのですから!!

気になる収録位置情報を記しておきましょう。まずディスク1と2に収録している大阪なんばHatchですが、会場の響きの特性を知り尽くした名テーパーがベストポジションと自信を漲らせ、過去に幾つもの名タイトルを収録した2階席最前列ド真ん中からの録音です。この同位置でナイトレンジャーの名盤『HIGH ROAD IN OSAKA (ZODIAC 085)』や、”WINGS OF TOMORROW 完全再現 “で話題を呼んだ今年1月のヨーロッパの来日公演決定盤『WINGS OVER JAPAN (ZODIAC 107)』、それ以外にもエイジアの『OSAKA 2008 – IN FRONT OF HOWE』や『OSAKA 2012』等、数々の名タイトルを収録してきました。そして今回もそのベストポジションから眩いばかりの極上録音を成功させています。一方、最終公演で注目される中野サンプラザの収録位置は1階席7列目の中央ステージ寄りです。座席番号だけ聞くとピンと来ないかもしれませんが、実は音の響きが正面からストレートに届き、左右からも一番ステレオ感に充ちた音が届くブロックでもあります。会場を訪れた事がある方は御存知と思いますが、このホールは1階1列が最前列ではなく、可動席として0列というものがある特殊な座席配置です。またステージの高さがそこそこあるので壇上から出るフロント・ロウ直球のサウンドを受けるにはやや見上げる位置にある0列や1列ではなく、斜めにせり上がってステージとの高さが自分と同じくらいの位置にくる3列~8列中央がベストとなります。つまり音響面を考慮すると実はかなり良い位置で収録している訳です。もちろん両音源ともネット上に一切出ていないオリジナル録音でどちらもノーカット完全収録となっており、その明瞭感と鋭くてタフな低音域、そして距離を感じさせない出音の近さは目を見張るものがあります。収録機材も最新のものを使用しており、収録マイクも臨場感やホールの鳴りをそのまま再現するものを使っていますので、高音域の伸びと振幅、そして左右の広がりも大きく幅がある音像である事を御実感される筈です!!

そうした録音情報を踏まえたうえで、まずはディスク1と2に収録の大阪公演から御紹介致しましょう。「Thirty Years」は序盤のウエットンの独唱が極めて透明度の高い音で出てきますが、この導入シーンの音を聴いただけで” 2階席なのに何故こんなに近くて威力ある音で録れるんだ? “と、その録音マジックに首を傾げるかもしれません。演奏が動き出してからはベースがブリブリ唸りながら強い音の筆致を描いていますが、この迫力あるベース音が終演までよく聴こえるのも本録音の大きなトピックスとなっています。「Carrying No Cross」は前半と後半とのコントラストが良く出たサウンドで録れており、キーボードが歌い出す直前の6分21秒~22秒で一瞬出てくる旋律もユニークです(※ソロで出す音色を呼び出して確かめているのでしょう)。また終盤10分45秒からのベースとドラムが激しく暴れる様子は往時のテリーとウエットンのそれに大変近いものがあり、マンジーニの実力を存分に垣間見られるシーンとなっています。この” マンジーニ効果 “とも言えるシーンが「Alaska」にもあり、2分53秒からの手数と打音表現はこれまでのドナティの表現とは全く違っているのも注目でしょう。また「Time To Kill」にシフトしてからも古豪のリズム猛者=ウエットンとの強烈なタッグによって極上のドライヴ感が生み出されており、これらの様子が透明度の高い音像で愉しめるのも本録音の魅力です。「Night After Night」ではミドルテンポに存在するビートが耳にしっかり残る音像が特徴で、これが歌唱やキーボードの旋律と相対する存在として深い聴き応えを与えてくれるのも嬉しいポイントです。「Rendezvous 6:02」はこの解散ツアー最終レグになって初めてバンド演奏版として蘇っていますが、前後の静かなパートと中盤展開部からの分厚い音色との対比が実にドラマティックな音像で録れています。曲後半ではマンジーニが定期的にクラッシュ・シンバル(鉄板?)を入れる特徴的なアプローチがありますが(※4分49秒~)、これが鮮やかな音質で愉しめるのもポイントです。そして約2年振りに演奏された「Nothing To Lose」はこの日、ヴァイオリンのソロ後にベースが音型を上下させる(3分36秒~)珍しい動きがあり、終盤4分34秒~終曲では1フレーズ毎にキーボードの音色を変えているのもユニークです。「In The Dead Of Night」はギターソロに入る手前で曲構成を勘違いしたのか一旦音楽が途切れる様なシーンがありますが、そんなこの日ならではの面白い演奏も熟練テーパーの極上音質でバッチリ収録しています。「Caesar’s Palace Blues」では鬼門となる終曲部のアプローチも完璧に決めており、コーダでアップテンポで攻め上げるマンジーニの叩き込みも鮮やかなサウンドで出ているほか、「The Only Thing She Needs」も弾むドラミングとブリブリ唸るベースのコンビネーションが炸裂感と躍動感満点の特上サウンドで飛び出します。終演後も約3分半ほど録音が続いており、再び沸き起こる「U.K.! U.K.!」コールや終演後のアナウンスも含んでおり、メモリアル録音としての充実度も完璧です。

ディスク3と4はバンドとしての最終演奏となった中野サンプラザ公演をノーカット完全収録。バンドとしての最終演奏を他では聴けない上質なオリジナル録音で迫れるディスクとなっています。冒頭から濃密なサウンドが耳の隅々まで潤しますが、各楽器のタフな中音域がぶつかり合う” 音の衝突力 “にもお気付き戴ける筈です。これは冒頭で少し書いた座席の位置の恩恵ともいえますが、正面からの音をしっかり受けつつ左右から去来する音の流れもバッチリ捉えている訳で、これが「Nevermore」の中盤辺りから徐々に感じられると思います。「Carrying No Cross」はエディがよくやらかすキーボード音色セレクトの選択ミス(※その日の気分で意図的にやっている可能性もありますが)まで生々しく録れており、中盤の展開部以降ではそのキーボードの旋律やコードのアクセントが随所でドラムと眩しく輝き合っている様子を見通しの良いサウンドで拾っています。「Alaska」では中盤からの展開(2分59秒~)がディスク1の大阪公演よりもタフでゴツゴツした表現となっていて、最終演奏ならではの協奏的対話がお愉しみ戴けるでしょう。これは「Time To Kill」中盤のヴァイオリン・ソロで華麗に舞う旋律とリズムのゴツゴツした強靭な音との対比としても現れますので要チェックです。「Night After Night」はウエットンの熱の篭ったヴォーカリゼーションが印象深く、ここ数年で演奏した同曲では最高にコブシを効かせまくった熱唱が良質なサウンドで飛び出してくるのが魅力です。これは本公演中でも大きな聴きどころでしょう。「Nothing To Lose」は繊細な演奏が透明度の高い音像で駆け抜け、若干不安定なパフォーマンスなのに明瞭な歌唱旋律と粒の揃ったドラミングによって曲の輪郭はしっかり感じられるいるのが面白いところです。「Forever Until Sunday」は大阪公演同様に濃密な演奏が展開し、漂う響きの中に現れる旋律の交差がパーフェクトに記録されています。この未発表曲は過去に様々な布陣のU.K.で演奏されてきましたが、最後の布陣の最終演奏でその完成形とも言える名演がここに残されたのは大きな喜びではないでしょうか。また「Caesar’s Palace Blues」の最終演奏も序盤からリズムと旋律の融合感が高く、ヴァイオリンの歌い上げもフレーズがよく廻っている様子が艶のあるサウンドで御確認戴けます。終曲部の合わせも疾走し過ぎず、いつになく安定しているのも面白い特徴でしょう。「The Only Thing She Needs」はマンジーニの音数の多さとカラフルな打音効果がエディのキーボードとヴァイオリン旋律と絡んで眩い化学反応を起こしており、透明度の高い音像の中で多彩な表情を見せる表現を随所で発見されると思います。ショウ序盤で歌い残していた「Carrying No Cross」最終ヴァースをウエットンが歌い終えるとバンドはその歴史を閉じますが、その後に沸き起こる「U.K.! U.K.!」コールは大阪公演よりずっと長く続き、場内の熱気と深い余韻・感動も完璧に封じ込めています。

今回の最終公演に足を運ばれた方が恐らく感じたであろう事は、「あー、これで本当に終わってしまったんだなぁ」という感慨深さだったかと思います。そして同時に、音楽的充実度にもグッときたのではないでしょうか? 「ウエットンは声出ていた、マンジーニ凄かった」等など感想はあると思いますが、彼らがあの最終公演を単に感謝とノスタルジーで終わらせたのではなく、不退転で未来を見据えて” 挑む最終演奏 “をしていた事にどこかで気付かされたと思うのです。確かにリハ不足が見え隠れしたシーンも散見され、例えば大阪公演の「Night After Night」や東京・中野での「Nothing To Lose」はその最たる例かもしれません。しかしそれを軽く超える高い音楽的融合感と充足感が溢れ出していた点にこそ今回の最終公演の良さがあったと思いますし、実際に足を運ばれた方はその” 挑む演奏と姿 “にこそ心打たれた筈です。恐らくこの日本2公演の様子はバンド側も録音していた筈ですし、年末や来年辺りにも公式版としてリリースされる可能性は充分あるでしょう。しかしその際、演奏のズレやミスがあった曲はカットするか、もしくはオーヴァーダブで修正するなど、間違いなく音を直してリリースする筈です。でも先日聴いたあの生々しい” 挑む演奏 “にこそ音楽の真の威力が宿っている事を長くブートレッグを聴いてきた方ならばお分かりの筈です。それを完全ノーカット極上録音で追体験出来る点にこそ、この東西凄腕テーパーが捉えた両録音最大の意義があるのです。演奏フォーメーションの優れた箇所もリハ不足の箇所も、ドキッとするほどの極上リアル・サウンドで飛び出す本作と接する時、自分がこのバンドと同じ時代に生き・歩んできた事の歓びをきっと肌感覚で感じて戴けるでしょう。品質に絶対の自信と信頼を得てきたVirtuosoレーベルが今週末に放つU.K.ファイナル公演の本命音源、是非御期待下さい!!


Live at Namba Hatch, Osaka, Japan 27th April 2015

Disc 1 (70:06)
1. Intro 2. Thirty Years 3. Nevermore 4. Carrying No Cross 5. Alaska 6. Time To Kill
7. Night After Night 8. Keyboard Solo (Ballooning Over Texas) 9. Violin Solo
10. Drum Solo 11. Rendezvous 6:02

Disc 2 (48:58)
1. Nothing To Lose 2. In The Dead Of Night 3. By The Light Of Day 4. Presto Vivace And Reprise
5. Forever Until Sunday 6. Caesar’s Palace Blues 7. The Only Thing She Needs
8. Carrying No Cross (Last Verse)

Live at Nakano Sunplaza, Tokyo, Japan 30th April 2015

Disc 3 (74:12)
1. Intro 2. Thirty Years 3. Nevermore 4. Carrying No Cross 5. Alaska 6. Time To Kill 7. MC
8. Night After Night 9. Keyboard Solo (Ballooning Over Texas) 10. Violin Solo
11. Drum Solo 12. Rendezvous 6:02

Disc 4 (49:13)
1. Nothing To Lose 2. In The Dead Of Night 3. By The Light Of Day 4. Presto Vivace And Reprise
5. Forever Until Sunday 6. Caesar’s Palace Blues 7. The Only Thing She Needs
8. Carrying No Cross (Last Verse)

John Wetton – Bass, Vocals Eddie Jobson – Keyboards, Violin Alex Machacek – Guitar
Mike Mangini – Drums, Percussion

Virtuoso 249/250/251/252

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