Genesis/CA,USA 5.25.1980

A new excavation series of legendary master Mike Millard. The latest surprise gig masterpiece is now available. Speaking of “Millard’s GENESIS,” “BURBANK 1976” from the Bill Bruford era has been very popular, but this work is from the three-man era, when time has advanced considerably. This is the best audience recording of “May 25, 1980 West Hollywood Performance”. This show was held at the famous theater “Roxy” which is also a tourist attraction, and was a surprise gig that only less than 500 lucky audience members could attend. It is a special piece that allows you to experience such a valuable scene with the sound of a legendary master. In addition, this special performance was also an act of “DUKE TOUR”. First of all, let’s look back at the schedule at that time and check the position of the show. “SMALLCREEP’S DAY” released on February 15th – March 17th – 27th: UK #1 (7 performances) “DUKE” released on March 28th – March 28th – May 9th: UK #2 (35 performances) May 17th – June 30th: North America (35 performances) ←★Here★ [Production of “FACE VALUE” started in June] This is GENESIS in 1980. While Mike Rutherford and Phil Collins’ solo activities are starting to become more active, they are still conducting large-scale world tours as their main job. The Roxy performance of this work was the 6th concert of the main “North American” tour. This work recorded at such a show is truly the work of a legendary master. While the clarity and strength of the core are the same as usual for mirrored recordings, the feeling of a closed room unique to a small club is different from usual. The atmosphere was filled with enthusiasm that didn’t spread far, and the sound of GENESIS’s performance came closer and closer, cutting through the enthusiasm. On the other hand, being able to experience a club at Mirrored Sound is extremely valuable. In fact, even though it is powerful up close, the glossy and neat sound without the slightest vibration is extremely beautiful, and you can be present at the moving scene where the entire venue becomes a chorus of beautiful sounds. However, compared to the Millard standard of “miracle by default,” the original sound that appeared on the Internet had a feeling of thrusting in the bass and a (slight) sense of collapse in the peaks of the cymbals. However, this was corrected through careful mastering. Having worked on mirrored recordings almost every week, I am familiar with the uniqueness of master sounds, and have been able to bring out the full potential of the original sound while keeping it natural. The beautiful sound depicts a full show filled with a special feeling. Speaking of the North American leg of “DUKE TOUR”, the ultra-excellent sound board “PERFECT MONTREAL” reigns supreme, but this work is similar and different from the set. Let’s compare and organize them here. Peter Gabriel era (6 songs)・Intrusion: The Knife (★)・Dancing With The Moonlit Knight/I Know What I Like (In Your Wardrobe)・Dazzling Broadway: The Carpet Crawlers (★)/In The Cage/The Colony Of Slippermen 4-person era (6 songs + α)・Trick of the Tail: Squonk/Ripples…/Dance On A Volcano/Los Endos・Silence Storm: One For The Vines/Afterglow・Others: Drums Duet 3-person era and others (11 songs)・And 3 people left: Deep In The Motherlode/Say It’s Alright Joe (★)/The Lady Lies/Follow You Follow Me・Duke: Behind The Lines/Duchess/ Guide Vocal/Turn It On Again/Duke’s Travels/Duke’s End/Misunderstanding *Note: Songs marked with “★” cannot be heard on the Ketteiban soundboard “PERFECT MONTREAL”. …and it looks like this. Although it roughly follows “PERFECT MONTREAL” as the band does not change the set significantly during the tour, “The Knife”, “The Carpet Crawlers” and “Say It’s Alright Joe” are sprinkled in there. In particular, the two songs “The Knife” and “Say It’s Alright Joe” will not be played after that, so you can enjoy the final performance with the best sound. And even more than that is the special feeling of a club gig. This show was so private that the three members personally sold tickets, and the audience that gathered there were genuine fans. They sing catchy melodies in unison, and are perfectly able to handle complex song developments. Of course, there is no doubt that GENESIS’s performance, which witnessed the enthusiasm, was bad, and it is an ideal show where the audience and the stage enhance each other. It may seem trite to say that “a live performance is a living thing” and “the audience is part of the show,” but the truth is that it is repeated, and it is precisely because it is repeated that it becomes a cliché. Because you’re surrounded by real fans, even if it’s a grand event, the music won’t be neglected… At Mirrored Sound, you can experience the utopia of “the fun and essence of live performance.” It is truly a blissful live album. A special scene and a special sound. Again, compared to many mirrored recordings, this is one where the audience’s breath is hotter. But that’s why it’s good. That’s why it’s so close to my heart. This is a 100% entertainment work that should be enjoyed by those who are not looking for a “soundboard substitute” for audience recording, but rather the “beauty unique to audience recording” and the “fun of the scene”. Live at The Roxy, West Hollywood, CA, USA 25th May 1980 PERFECT SOUND Disc 1 (74:02) 1. Introduction 2. Deep In The Motherlode 3. Dancing With The Moonlit Knight (Intro) 4. Carpet Crawlers 5. Squonk 6 . One For The Vines 7. Story Of Albert 8. Behind The Lines 9. Duchess 10. Guide Vocal 11. Turn It On Again 12. Duke’s Travels 13. Duke’s End 14. Say It’s Alright Joe Disc 2 (72:10) 1 MC 2. The Lady Lies 3. Ripples 4. Band Introductions 5. Misunderstanding 6. In The Cage 7. The Colony Of Slippermen 8. Afterglow 9. Follow You, Follow Me 10. Dance On A Volcano 11. Drums Duet 12. Los Endos 13. I Know What I Like 14. The Knife Phil Collins – Vocals, Drums & Percussion Mike Rutherford – Bass & Guitar Tony Banks – Keyboards Chester Thompson – Drums & Percussion Daryl Steurmer – Guitar