The best sound source from the John Wetton era has been revived with the ultimate sound! This work is an audience album containing the "May 6, 1976 Boston performance" and is a collection of world-famous and historical recording artist Dan Lampinski. This recording came out on “SHADY BOSTON (Uxbridge 158)” in 2009, and the impact was tremendous. Until then, speaking of the Wetton era, the “PINK POP FESTIVAL performance” was famous, but this recording is a complete recording with a sound that far exceeds even that. A specialized magazine said, ``The quality is the highest ever for Heap Boot when they were with Wetton,'' and ``You can hear a wonderful performance with a lot of spirit, and you can listen to it in high quality sound with outstanding stereo effects, so I want to say, ``You're in trouble!'' With such rave reviews, it was only natural that collectors around the world were excited. And, this work is one of the "If you want to listen to the Wetton era, this is it" revived with the latest remaster. This was originally the outstanding sound of the Lumpinski Collection, but we further adjusted the mid-high range lead instruments and the low bass sound to make the performance of each instrument stand out clearly while maintaining high sound quality. Of course, Wetton's bass line has also been reborn more clearly. Don't get me wrong here, I'm not just raising the bass without thinking. If you are familiar with “SHADY BOSTON”, you will understand, but this recording has extremely deep bass from the original sound. However, it was too thick, and the bass reverberations were unorganized and the outline seemed blurred. Therefore, making the bass even stronger has the opposite effect, and in this work, each range has been carefully organized, and if you simply look at the volume of the bass component, it actually has decreased, but as a result, the bass line The "core" stands out and you can fully enjoy the "bubbly" feeling reminiscent of the KING CRIMSON era. Please feel free to experience the power of the bass with its core exposed on “July Morning.” In "SHADY BOSTON", the high tones were so clear that they penetrated through the bathing atmosphere of the low tones, but in this work, the low tones of the synthesizer and the bass, which had been mixed up, were clearly separated, and all the lines were intertwined. , it becomes an overwhelming drama and flares up. Of course, the power of the buriburi bass is tremendous even in driving numbers such as “Easy Livin’” and “Look At Yourself.” Wetton's true strength is naturally in the battles of progressive rock, but the songs in which the band works as one are also brilliantly transformed. If he hadn't left URIAH HEEP, neither UK nor ASIA would have existed, but I wanted to hear a little more of the drive in the world of British HR... And “Sweet Lorraine” explodes with the charm of improvisation. It is a masterpiece that continues for more than 20 minutes, starting with "Improvisation" which features a long guitar solo, but in the middle there is also a bass solo that lasts for 4 and a half minutes. What did URIAH HEEP want from Wetton, and what kind of sound world did they create to welcome him? This is conveyed more clearly than ever. In fact, URIAH HEEP featured improvisation until around 1972, but during the Gary Thayne era it turned into a music-driven show. Then we came here and boldly reintroduced improvisation. It's nostalgic that when they first came to Japan, people said that they weren't as precise as YES, citing their rough rock'n'roll medley, but if it was a live show where they threw out an improvisational competition like this one, people would start comparing them. Their future might have changed as the other party became DEEP PURPLE instead of YES. And if Wetton was there. There is a bass hero who makes a mighty roar on the bass and listens to a wonderful British voice on "One Way Or Another", and the live performance is captivating with actors such as David Byron with a rainbow voice and Ken Hensley, a magician of the fantasy world. If so... This is a superb live album that will make even that “maybe” cross your mind. This is a record that goes beyond being the best recording of the Wetton era and embodies "an ideal" of British hard rock. This is the ultimate sound board. It would be a waste if only fans of Wetton and URIAH HEEP could enjoy such a live album. This is a must-listen for those who have an eye for the scent of the British Empire, as well as those who like DEEP PURPLE and RAINBOW. Live at Orpheum Theatre, Boston, MA. USA 6th May 1976 TRULY PERFECT SOUND Disc 1 (46:35) 1. Intro. 2. Devil's Daughter 3. Stealin' 4. Shady Lady 5. Make A Little Love 6. One Way Or Another 7. The Wizard 8. July Morning Disc 2 (50:39) 1. Midnight 2. Easy Livin' 3. Gypsy 4. Improvisation 5. Sweet Lorraine 6. Bass Solo 7. Sweet Lorraine(reprise) 8. Bird Of Prey 9. Love Machine 10. Look At Yourself David Byron - Vocal Mick Box - Guitar Ken Hensley - Keyboards & Guitar John Wetton – Bass Lee Kerslake – Drums
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