David Bowie/CA,USA 9.16.1974

The shocking discovery of “L.A. FORUM 1978 MIKE MILLARD 1ST GEN” from Mike Millard’s 1978 “ISOLAR 2” tour revealed that he had also recorded Bowie’s stage, but Millard also recorded Bowie’s stage. It became clear last week that he had even recorded the 1974 “THE PHILLY DOGS TOUR” tour, which has caused a stir among Bowie mania around the world. The “L.A. FORUM 1978 MIKE MILLARD 1ST GEN” show was still prefaced with the standard LP “SLAUGHTER IN THE AIR”, but this time it was an Anaheim performance where there was no sound source at all until now. That’s why enthusiasts around the world are all the more excited. In the first place, 1974 was the year when Mike Millard’s recording began to take off. However, recordings were not as active as they were from the following year, and the existence of the sound source is not well known. For that reason, until now it was not even known that he had recorded the “THE PHILLY DOGS TOUR” tour, so this excavation was shocking! Therefore, the sound image is not as close as the recordings made after 1975, but the unique sound quality that combines a reasonable sense of distance and an amazing stereo feeling is as expected. What’s more, the freshness is outstanding. The tape may have remained fresh because it had not been circulated among traders until now. At the beginning of the show, the sound output from the venue was not stable, which caused ups and downs in the performance and Bowie’s singing voice, but that also calmed down from “Sweet Thing”. Above all, Bowie’s singing voice becomes clearer and clearer, so it’s irresistible. And the realistic feeling of breathing in the atmosphere of 1974 is also exquisite. In addition to the sound quality that makes you feel this unique charm, what is most shocking is that there was no sound source at all until now, and on the contrary, it captures the final stage of the “THE PHILLY DOGS TOUR” tour in September. Its historical value is immeasurable. Speaking of September, the main event is the consecutive night performances at the LA Universal Amphitheater, and the classic official release that was created from there is “CRACKED ACTOR (LIVE LOS ANGELES ’74)”. Don’t miss “DEFINITIVE LOS ANGLES 1974”, which contains a different old mix and different edited version. However, at this time, not only the sound board of this day but also audience recordings that captured other days were concentrated in LA. So far, the only sound source other than Universal Amphitheater is the San Diego performance on September 11th, the next performance after the LA schedule (the sound quality is not good). In other words, the end of “THE PHILLY DOGS TOUR” in September has been veiled until now. As you can imagine if you’re a maniac, Bowie in 1974 was a time when he was immediately putting ideas that came up with cocaine as fuel on stage. That’s why you would be wrong if you thought that the tour would always have the same structure. The proof of this is the Anaheim performance that Millard recorded this time. The song played as an encore on stage in September was thought to be “John, I’m Only Dancing (Again)”, as was proven in LA earlier. However, on this day’s encore, the song that was played was “Somebody Up There Likes Me”, which started with Bowie’s introduction of “new songs before release”! It was a song that would later see the light of day on the new album “YOUNG AMERICANS” that was in progress at the time, but on stage it was thought that it had been included in the repertoire from the October leg of “THE PHILLY DOGS TOUR.” However, the arrangement had already been completed and was performed on that day. It is possible that this is a live premiere, but in any case, the performance heard here is a surprising new fact for Bowie mania around the world. And above all, it is shocking that the performance itself is better than “CRACKED ACTOR (LIVE LOS ANGELES ’74)”. In the first place, Sly and the Family Stone’s drummer Greg Errico and Santana’s Doug Roach are the bassists for a limited time only in September, and the band is filled with a black feeling. It’s a mirrored quality that comes through to the point where you can feel how familiar it is. The backing chorus is also more gorgeous than in LA, foreshadowing the evolution to a deep soul-oriented stage from October onwards. Besides, Bowie’s voice is in great condition. It is clear from the official “DAVID LIVE” that recorded the July stage that Bowie’s voice is a little hoarse due to his addiction to cocaine in 1974, but even though it is hoarse, his voice still comes out. That’s the greatness of Bowie on this day. It’s so strong that it easily surpasses the official LA. Also, the September tour was the last time the legendary “DIMOND DOGS” stage set was used, and since there were many problems with the stage set during the tour from June to July, Bowie no longer wanted to use it. There wasn’t. However, he continued using it in September after being persuaded by his manager Tony Defries. In fact, the “DIMOND DOGS” stage set can be seen in the photo taken from the audience seats of the Anaheim stage. Therefore, in terms of not only the set but also the repertoire, this is the last repertoire that is the same as the ending of the album “DIMOND DOGS”, which is a medley from “Big Brother” to “Chant Of The Ever Circling Skeletal Family”. You can’t miss Jericho’s drumming that explodes here. In this way, as a tour, although the concept of “THE PHILLY DOGS TOUR” was starting, it was still a transition period that still had a strong tinge of “DIMOND DOGS”. Above all, the value of having already performed “Somebody Up There Likes Me” is immeasurable. An amazing new excavated sound source that allows you to enjoy such valuable scenes in high quality. Millard has done it again! Live at Anaheim Convention Center, Anaheim, CA, USA 16th September 1974 TRULY AMAZING/PERFECT SOUND Disc 1 (49:47) 1. Intro / 1984 2. Rebel Rebel 3. Moonage Daydream 4. Sweet Thing 5. Candidate 6. Sweet Thing (Reprise) 7. Changes 8. Suffragette City 9. Aladdin Sane 10. Band Introduction 11. All The Young Dudes 12. Cracked Actor 13. Rock ‘N’ Roll With Me 14. Knock On Wood Disc 2 (50:51) 1 It’s Gonna Be Me 2. Space Oddity 3. Future Legend 4. Diamond Dogs 5. Big Brother 6. Chant Of The Ever Circling Skeletal Family 7. Time 8. The Jean Genie 9. Rock ‘n’ Roll Suicide 10. Somebody Up There Likes Me David Bowie – vocals Michael Kamen – electric piano, Moog synthesizer, oboe Mike Garson – piano, mellotron Earl Slick – guitar Carlos Alomar – rhythm guitar David Sanborn – alto saxophone, flute Richard Grando – baritone saxophone, flute Doug Rauch – bass Greg Errico – drums Pablo Rosario – percussion Gui Andrisano – backing vocals Warren Peace – backing vocals Ava Cherry – backing vocals Robin Clark – backing vocals Anthony Hinton – backing vocals Diane Sumler – backing vocals Luther Vandross – backing vocals