Cheap Trick/CA,USA 1977 Mike Millard Master Tapes

Mike Millard’s original master excavation project continues to produce masterpieces and masterpieces and has become a symbol of 2020. The latest work, CHEAP TRICK’s finest live album, is now available. This work was recorded at “Long Beach Performance on December 31, 1977”. This is a super-class audience recording that captures them who were still unaware of the fateful Nippon Budokan and were selling it to great acclaim. Speaking of mirrored recording, its sound quality is the biggest attraction, but this time the show is also amazing. Speaking of 1977, it was CHEAP TRICK’s debut year, and it was a start-up period where they released masterpieces “CHEAP TRICK” and “IN COLOR” in quick succession. First of all, let’s look back at that time and check the position of the show.・January 6th – February 5th: North America #1a (17 performances)《“CHEAP TRICK” released in February》 ・February 11th – June 5th: North America #1b (70 performances) ・June 22nd -September 15th: North America #2a (53 performances) [September “IN COLOR” released] September 21st – December 31st: North America #2b (64 performances) ←★Here★ This is CHEAP TRICK in 1977 . Since it’s a New Year’s Eve show, it’s natural that it’s the last day, but the highlight is the schedule leading up to it. They have been on tour since the beginning of the year (actually, since the end of 1976), and will be jam-packed with 204 live performances until the end of the year (to be exact, they will continue into the following year, 1978). There was a 16-day gap in June, but other than that, there was not even a week off, and he was running at an average pace of “four performances a week.” Of course, the time in between is not a day off, but a travel day, and we also produced “IN COLOR”… I’ve handled countless tours for many bands, but I don’t remember the murderous journey up to this point. It’s such an overcrowded schedule that it makes you wonder why you can’t die like this. This work was recorded at such a New Year’s Eve show (by the way, there was another performance two days later on January 2, 1978), but this is the best sound with “super”. Every time I introduce Millard’s works, I struggle with a lack of vocabulary, and this time is no exception. Anyway, the very thick and close core is roaring, yet the details are delicate down to the smallest details. While absorbing the spectacle of a large venue, if the ideal audience noise without close screams is also wonderful, the slight sound of the hall adds the depth and dynamism of an FM broadcast. This time too, it is a transcendental recording that makes the distinction between official/unofficial, audience/soundboard meaningless. However, this is a general level story. When it comes to the Mirrored Master standard, which is “transcendent and natural,” the story is (slightly) different, and the treble extension is very slight, but not good (CHEAP TRICK on this day was the opening act for KANSAS, and the PA may not have been fully used. I don’t know). Therefore, this work corrects the balance. Of course, the original sound is at an extremely high level, so it is a matter of minor adjustments, but we have brought out the highest quality sound that is comparable to the previous Mirrored Collection. What is depicted with such a sound is a show where the spirit of a genuine live band explodes. In their case, “AT BUDOKAN” is the standard, so let’s compare and organize them. ・Cheap Trick (1 song): He’s A Whore (★) ・Pale Highway (5 songs): Big Eyes/Southern Girls (★)/Downed (★)/Oh Caroline (★)/Clock Strikes Ten・Heaven’s Trap (2 songs): High Roller (★) / Auf Wiedersehen (★) / Other (2 songs): Ain’t That A Shame / Goodnight *Note: “★” mark can be heard on “AT BUDOKAN (original edition)” No songs. …and it looks like this. This tour was the opening act for label mate KANSAS, so it only lasted about 40 minutes, but during that time they concentrated on the repertoire unique to their early days, focusing on five songs, half of “IN COLOR.” Actually, the above is a comparison with the original version of “AT BUDOKAN”, but it also shows “He’s A Whore”, which cannot be heard in the expanded “THE COMPLETE CONCERT”. And while it has almost the same running time as “AT BUDOKAN,” its energy can surpass even historical masterpieces. After all, unlike “AT BUDOKAN”, it is not edited to be short because it is only an undercard performance. For them, who were just starting out, every 40 minutes of time they had was an opportunity, and their concentration and energy to make the most of it was amazing. Also, a fun little scene takes place after the end of “Downed.” Robin begins to introduce the members, and the first thing Lee says is, “I’m Mr. Robin Zander, the lead vocalist!” This is because in the early days when self-introduction itself was not well-known, if it was interesting to call oneself with “Mr.”, it would be just me and Van E. Carlos, skipping Rick and Tom and moving on to the next song. It’s also funny. Anyway, it’s super hot. At the beginning of “Auf Wiedersehen”, he screams “Happy New Year!”, and in that new year, he made his legendary first visit to Japan and achieved a breakthrough with the masterpiece “AT BUDOKAN”. What is engraved in this work is “on the verge” of such glory. This is a masterpiece that was vacuum-packed by a historical master who relied on his skills to perform an early show of youthful explosion that could even surpass the Budokan live performance. A supreme piece that brings out the maximum potential of the finest mirrored master. Long Beach Arena, Long Beach, CA, USA 31st December 1977 TRULY PERFECT SOUND (38:55) 1. Big Eyes 2. Southern Girls 3. Downed 4. High Roller 5. Ain’t That A Shame 6. Oh Caroline 7. Clock Strikes Ten 8. Auf Wiedersehen 9. He’s A Whore 10. Goodnight Robin Zander – lead vocals, rhythm guitar Rick Nielsen – lead guitars, vocals Tom Petersson – bass, vocals Bun E. Carlos – drums