Description
The legendary live album “LADIES AND GENTLEMEN” from the heyday of EL&P. The original master of Mike Millard, which is also its sister album, has been newly excavated! This work is engraved with the “February 1, 1974 Anaheim performance”. It is the best audience recording. Some people may think, “What? Isn’t LADIES AND GENTLEMEN on February 10?” In order to explain the situation around there, let’s first look back on the outline of their activities in their heyday. 1973 March 30-May 4: Europe #1 (22 performances) ← * ROME & MILAN 1973 and others {June-September “Fearful Brain Reform” production} November 14-December 18: North America #1 (30 performances) ← * MIAMI 1973 and others 1974 January 24-April 6: North America #2 (34 performances) ← ★ Here ★ April 18-June 2: Europe #2 (29 performances) ← * ZURICH 1974 and others July 26-August 31: North America #3 (18 performances) ← * PROVIDENCE 1974 and others This is EL&P in 1973/1974, when it was at its peak. Above, we have listed the press masterpieces representing each leg, but the Anaheim performance of this work was one act of “North America #2”. Although this “North America #2” is the main leg with many performances, it has also been a hidden area with few titles. However, that is only an underground story. When it becomes official, it changes completely. Let’s focus on the dates further. Details of “North America #2” ・January 24-31 (6 performances) *February 1: Anaheim performance ←★ This work ★ *February 2: Official “LADIES AND GENTLEMEN” etc. ・February 3-March 5 (18 performances) *March 7: Official “K.B.F.H.” etc. (Tulsa) ・March 28: St. Louis performance *March 29: Official “MANTICORE VAULTS VOL.2 (Wichita)” ・March 30-April 2 (3 performances) *April 6: Official “LIVE IN CALIFORNIA 1974” … and so on. There are a lot of official works representing that time, and the symbolic board “LADIES AND GENTLEMEN” was recorded at two consecutive Anaheim performances on “February 1st + 2nd”. As mentioned above, the Anaheim performance is generally said to be “February 10th”, but according to the verification of core collectors who collect evidence such as sound sources, tickets, and posters, it seems that the Anaheim performance did not take place on “February 10th” (by the way, there was a Seattle performance about 2000km away on February 11th, and it seems that February 10th is certainly impossible). This work was recorded on the first day of the two consecutive Anaheim performances. This alone is a historic discovery, but the impact is doubled because it was recorded by the absolute master Mike Millard. In fact, Millard at that time had not yet introduced the “AKG 451e microphone + Nakamichi 550 deck”. Because of this, the tone is rougher than Millard’s later works, but it is close to “LADIES AND GENTLEMEN”. The powerful core, which is not at all sparse, reaches you with plenty of density, and the details and separation are tremendous. The enthusiasm of the prime is suppressed only between songs, and the ensemble of the climax trio with an excessive number of sounds can be enjoyed clearly and clearly down to the fine details. What is depicted in such a mirrored sound is actually a full show that is similar to “LADIES AND GENTLEMEN”. Although the set is basically based on the official version, it is not exactly the same, and “Benny The Bouncer” is played instead of “Jeremy Bender / The Sheriff”. “Benny The Bouncer” itself is valuable, but what is more important is that this completes the “Terror of Brain Reform”. This work is both a “guest recording version of LADIES AND GENTLEMEN” and a “live performance version of BRAIN SALAD SURGERY”. The point is the overall performance. In fact, it is quite different from “LADIES AND GENTLEMEN”. As mentioned above, “LADIES AND GENTLEMEN” was produced from two performances in Anaheim, but the main one was the second day, “February 2nd”. The performance on the first day of this work is not as complete as the official version, and there are some dangers like a public rehearsal. Of course, the band potential is the same, so it is a listening experience that can be said to be “another LADIES AND GENTLEMEN” with a different performance nuance. You can fully experience the live performance on the day before the historic masterpiece “LADIES AND GENTLEMEN” at the same venue with an absolute master sound. It is a great masterpiece of the back world against the front “LADIES AND GENTLEMEN”. To repeat, it is an absolute work that can be enjoyed as both “Guest recording version LADIES AND GENTLEMEN” and “Live performance version BRAIN SALAD SURGERY”. The best audience recording of the “February 1, 1974 Anaheim performance” the day before the official “LADIES AND GENTLEMEN”. The master of the absolute master Millard, the sound is as wonderful as “LADIES AND GENTLEMEN”. “Benny The Bouncer”, which is not in the official version, is also shown, and an absolute new masterpiece that can also be enjoyed as a “live performance version of BRAIN SALAD SURGERY” is born. Anaheim Convention Center, Anaheim, CA, USA 1st February 1974 TRULY PERFECT SOUND Disc:1 (42:22) 1. Soundcheck 2. Intro. 3. Hoedown 4. Jerusalem 5. Toccata 6. Tarkus Disc:2 (62:41) 1. Soundcheck 2. Benny The Bouncer 3. Take A Pebble 4. Still…You Turn Me On 5. Lucky Man 6. Piano Improvisation 7. Take A Pebble (reprise) Karn Evil 9 8. Karn Evil 9: 1st Impression (incl. Drum Solo) 9. Karn Evil 9: 2nd Impression 10. Karn Evil 9: 3rd Impression
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