Bob Dylan/CA,USA 6.7.1978 Alternate Millard Recording

In October 2014, that is, this month, a shocking discovery was made in the audience recording history of Mike Millard, a taper who left behind numerous ultra recordings from LA performances in the 70s. Ta. The mirrored recording of Bob Dylan’s LA performance in June 1978 has been unearthed since this summer and has become a hot topic, but this month an alternate recording of the June 7th performance, which appeared as the third recording, has become a hot topic. It appeared. Yes, it is still fresh in the memory that our store released it as “LOS ANGELES 1978 LAST NIGHT: UNCIRCULATED MILLARD 1ST GEN” on the last day of LA, and the appearance of another sound source has surprised fans all over the world. Millard’s exceptional quality of audience recordings have become established among rock fans over the past twenty years, and since he died at such a young age, his reputation has risen to the status of a charismatic figure. It feels stuffed. Speaking of his sound sources, Led Zeppelin’s LA performance is his representative work, and he has also recorded performances by Pink Floyd and the Rolling Stones with excellent sound quality, which has been proven through the various releases he has produced so far. Done. Under such circumstances, the fact that he had even recorded Dylan’s live performance became a topic that surprised even those who were not his fans. And the reason why this sound source was a shocking discovery is that “Millard was recording the same performance with two recorders.” There is no fact that there was ever another recording of his sound source from the same day. However, as his recording technology progressed, it became clear that it was more than just an audience recording by one fan. The most famous episode is the “wheelchair visitor,” which was created as a way to smoothly enter a concert venue with a recorder. It is said that they tried not to record too much noise. However, this excavation revealed the shocking fact that “multiple recordings were made in one performance”! It’s still strange, isn’t it? His recordings of other artists’ performances have never been excavated in similar condition (if a sub-recording of ZEP’s “Eddie” material exists, the complete version of “Ten Years Gone” with cuts included). It makes me want to daydream if it existed…) Moreover, the year 1978 belongs to the latter half of Millard’s recording career. Under such circumstances, Millard recorded Dylan live for the first time, but the first two recordings were incomplete, which was unthinkable for him at the time. So, when recording the final day in LA, Millard may have aimed to use another recorder to record the complete version of “This Time”. It is inferred that. Moreover, this is very interesting, the texture of the previous sound source and this sound source is definitely different. From the results, it can be said that “LOS ANGELES 1978 LAST NIGHT: UNCIRCULATED MILLARD 1ST GEN” wins in terms of the degree of on-sound image. On the other hand, since the two sound sources can hear exactly the same cheers, there is no doubt that they were recorded from the same area. However, if Millard had placed the recorder on his left and right and recorded it, there would not have been such a difference in sound quality. Here, there is no doubt that either of the sound sources was recorded by a person who accompanied Millard. I guessed the difference in the sound image at the time of last week’s gift release, but if the sound quality is so clearly different, I guarantee that it is a sound source that you can definitely enjoy as an alternative recording. The last time’s sound source, where the performance was so close that it was vivid, picked up the surrounding excitement with a fairly large balance, but this time’s sound source is likely to have been recorded slightly further back than that, and the same cheers were also heard. The balance is less noticeable than last time (on the contrary, there are some scenes where it seems more jarring this time…lol). In addition, the gentle balance of the performance is appealing, and some people may find it more calming and easier to listen to. In that state, it was used to supplement the previous sound source and “LOS ANGELES 1978 LAST NIGHT: UNCIRCULATED MILLARD 1ST GEN” which recorded it, and the “LOS ANGELES 1978 LAST NIGHT ALTERNATE RECORDING” sound source that came with the first release CD-R. You can say that the sound quality is somewhere between. In this way, not only the shocking fact that Millard left multiple sound sources, but also the fact that there were three types of high-level sound sources in the performance on the same day became clear. If the sound quality is so different, please listen and compare the difference with the previous release. Especially when you listen to it with headphones! From “Senor” onwards, the left channel was corrected for the high drop that was thought to be caused by tape deterioration, recorded in accordance with the two-part structure of the actual live performance, the first half and the second half, and the only song missing that was a drawback of this sound source. By supplementing the finale “The Times They Are A-Changin'” with the sound source of “LOS ANGELES 1978 LAST NIGHT: UNCIRCULATED MILLARD 1ST GEN”, it is also a groundbreaking release that “you can listen to the entire story with Millard’s divine sound source” It will be. (Furthermore, in this edition, the missing beginning of Ballad Of A Thin Man, which is thought to be due to a tape change, has also been corrected with “LOS ANGELES 1978 LAST NIGHT: UNCIRCULATED MILLARD 1ST GEN”, and this part also includes the song interval. It is recorded about 10 seconds longer than the original sound.) This time too, the alternate version is an ultra recording unique to Millard, and it is sure to have both the previous title! BOB DYLAN – LOS ANGELES 1978 LAST NIGHT: ALTERNATIVE MILLARD RECORDING(2CD)Universal Amphitheater, Los Angeles, CA. USA 7th June 1978 ULTIMATE SOUND Disc 1(62:39) 1. A Hard Rain’s A-Gonna Fall (instrumental) 2. Love Her With A Feeling 3. Baby Stop Crying 4. Mr. Tambourine Man 5. Shelter From The Storm 6. Love Minus Zero/No Limit 7. Tangled Up In Blue 8. Ballad Of A Thin Man 9. Maggie’s Farm 10. I Don’t Believe You 11. Like A Rolling Stone 12. I Shall Be Released 13. Going, Going, Gone Disc 2(79:57) 1. Rainy Day Women # 12 & 35 (instrumental) 2. One Of Us Must Know (Sooner Or Later) 3. You’re A Big Girl Now 4. One More Cup Of Coffee 5. Blowin’ In The Wind 6. I Want You 7. Senor (Tales Of Yankee Power) 8. Masters Of War 9. Just Like A Woman 10. Don’t Think Twice, It’s All Right 11. Simple Twist Of Fate 12. Oh, Sister 13. All Along The Watchtower 14. All I Really Want To Do 15. Band Introductions 16. It’s Alright, Ma ( I’m Only Bleeding) 17. Forever Young 18. The Times They Are A-Changin’ Bob Dylan – vocals, guitar Billy Cross – guitar Alan Pasqua – keyboards Steven Soles – guitar, backing vocals David Mansfield – violin, mandolin Steve Douglas – horns Jerry Scheff – bass Bobbye Hall – percussion Ian Wallace – drums Helena Springs – backing vocals Jo Ann Harris – backing vocals　Carolyn Dennis – backing vocals