How many of you remember the title "THE FINAL CHAPTER" that was released in October 2002 and was enthusiastically supported by many U.K. fans? It was a rare title that was widely and long supported by fans as a famous sound source that captured the final period of the 1979 European tour just before U.K. broke up in a full set. However, recently, we succeeded in obtaining a tape of a very young Gene of this sound source, and this "WAITING FOR YOU - Hamburg 1979" was born as a successor to "THE FINAL CHAPTER" for the next generation. Of course, the recording is a stereo audience recording. It is an outstanding recording content that approaches the performance of this day with high quality sound quality that makes all the previous releases hazy. First of all, please listen to this sound. In the surprising opening "Caesar's Palace Blues" that seems to be the end of the activity, the state of the song's momentum accelerating from the heavy beginning to the middle part is transmitted with a vivid sound. If you already own the album, I would like you to compare the two here. You will notice that the sound pressure of the previous version was too high from this opening scene, and there was a strange sense of pressure in the sound. At the same time, you will also notice how naturally the sound quality of this work conveys the sound of the performance. In "Danger Money," which starts without the intro, please pay attention to the part in the middle where the rhythm starts to move (from around 3 minutes 22 seconds). You will notice that the sound of the three instruments clashing with each other and progressing simultaneously is reproduced vividly with a sound image that is much closer than what you could hear on the previous version. "As Long As You Want Me Here" allows you to follow the movement of the sound in more detail. In particular, in the quiet and mellow part from around 2 minutes 34 seconds (※The same applies from around 4 minutes 08 seconds to the final song), you will be convinced of the way it captures the charm of the soft sound with moderate spatiality and transparency. On the other hand, "Night After Night" has a strong appeal of the overall performance sound. The skill of assembling a dense ensemble that is hard to believe is made by just three people is particularly strong on this day, and the recording conveys this directly. In particular, the synth solo that appears towards the end (from 3:06) produces a powerful sound from the mid-range to the high-range, with a contrast between the melody that resounds loudly and the rhythm in the background, so please pay attention to this extended sound image. The next song, "Alaska," is also a great listening point for this work. The development of the middle part (from around 2:45), which can be said to be the key to this song, attacks you vividly with a dynamic sound image that completely destroys the previously released version, and the separation of the sounds from each instrument is also wonderful. From here, "Nothing To Lose" is seamlessly connected as a characteristic development of the final period of their activities, and here you will first be captivated by Wetton's passionate singing with a fist. I also think that the shimmering tone and sound of the violin solo has never been recorded with such clarity and texture before. The transitions during this solo and when Eddie switches instruments are also one of the highlights, as the bass moves in a very unusual way on this day, and the fact that the sound and movement of this bass are also reproduced with a clear sound is also noteworthy. The improvisation at the beginning of Disc-2 on this day is highlighted by its hard and dossy bass. However, although it is certainly Wetton who is leading the improvisation on this day, the other two players' rhythm and scale selection, who start a rough dialogue in the thrilling development, also stand out. You can also hear the finely moving sounds clearly, so you will be reminded that it is a multifaceted improvisation that combines a tough tune with a fine structure. "Nostalgia" has a momentary cut at around 00 minutes 42 seconds, just like the previously released version, but the sound is far superior to the previously released version. You will be impressed by the extremely clear sound of the dialogue of the violin, which resonates lustrously on the unique sound created by the Yamaha CS-80. You will also be amazed at how the detailed sound movements of each instrument can be traced in "Presto Vivace". This song does not have any flashy sounds, so it is easy to compare, and if you already have the released version, I would like you to compare the difference in the sound image. The sounds that were poorly separated and crushed overall stand out clearly in this work, and the bass sounds that were difficult to hear because they were deep are heard moderately, and the richness of the sound of multiple sounds progressing simultaneously should be felt strongly. And the surprising "In The Dead Of Night" that rises from there also has a condensed feeling unique to this period, which is played in a form quite close to the studio version, and the dense ensemble jumps out with a good sound image with good grain. "The Only Thing She Needs" has a violin solo in the middle that uses a lot of pizzicato, and in between there is a speedy ensemble part, which expands the possibilities of the song. The dense ensemble with a high sense of tension tickles your ears with vivid sounds from low to high ranges, giving you a special pleasure. And the last song is "Waiting For You". How to listen to this unreleased song with lyrics for the 3rd album left at the end of the UK's activities varies from listener to listener. Some people may say that "they ran the pop route". However, while the melody line is a pop sound that goes outward, I think it is important to note that the song has a tough composition that remains complex, as if it is resisting the 80s that will soon arrive. Of course, this song is also recorded with a vivid sound with high resolution, so you can enjoy it as a first-class sound source for research material. At the same time, the dynamic and expansive recording gives a glimpse of how powerful the music of the 1970s U.K. was, at the very end of their career, making this a song that symbolizes the title. The upgraded version of the performance in Hamburg on December 9, 1979, which has finally been released, will be a hot topic for all prog fans. Live at Audimax, Hamburg, Germany 9th December 1979 PERFECT SOUND(UPGRADE) Danger Money European Tour Disc 1(43:39) 1. Intro 2. Caesar's Palace Blues 3. Danger Money 4. As Long As You Want Me Here 5. Thirty Years 6. Drum Solo 7. Night After Night 8. Alaska 9. Nothing To Lose Disc 2(45:12) 1. Spanish Tune (Bass Solo) 2. Rendezvous 6:02 3. Violin Solo 4. Nostalgia 5. Presto Vivace 6. In The Dead Of Night 7. The Only Thing She Needs 8. Waiting For You John Wetton - Bass, Vocal Eddie Jobson - Keyboards, Electric Violin Terry Bozzio - Drums, Percussion
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