Description
The master discovery project of absolute master Mike Millard continues. The new work is JETHRO TULL from the “SONGS FROM THE WOOD” era. Many of you may have wondered, “Huh?” when you heard “Mirroard from SONGS FROM THE WOOD.” Yes, speaking of 1977’s JETHRO TULL, we have already introduced the masterpieces of mirrored recordings “LOS ANGELES 1977” and “PASADENA 1977”. This work is the third installment following those. It is a super best audience recording of “Anaheim performance on April 6, 1977”. This is the third film in the same year of 1977, which is very unusual for Millard. After all, even in his vast collection, most of the bands are “one-time hitters.” Only bands that really like it record themselves over and over again. Moreover, among them, JETHRO TULL is quite popular, recording nine times in the 1970s alone. Speaking of Millard, the image is that there are many historical masterpieces by ZEP, Stones, and YES, but in fact, JETHRO TULL is also on the same level, and Millard was so passionate about it that it could be called one of the Four Heavenly Kings. Even if he is so passionate about it, the reason people don’t immediately think of Millard’s work is probably because it was distributed without anyone knowing that it was Millard’s work. In fact, some of the mirrored recordings are simply famous as “JETHRO TULL’s famous recordings”, and it is only in recent years that researchers have begun to say “maybe mirrored!?” With the recent discovery of the master, it has become “I knew it!”. In any case, even though this is the third Mirrored movie, its position is quite different from the previous two. To get an idea of that, let’s take a look back at the panoramic view of the “SONGS FROM THE WOOD Tour.”・January 14th-23rd: North America #1 (7 performances) ← * Millard’s previous two works ・February 1st-14th: UK (13 performances)《“SONGS FROM THE WOOD” released on February 11th》・March 1st – April 10th: North America #2 (33 performances) ←★Here★ ・April 16th – 23rd: Europe #1 (8 performances) ・May 24th – June 8th: Europe #2 (12 performances) September 4th – 20th: Australia (15 performances) November 4th – December 6th: North America #3 (31 performances) ← *Official video This is JETHRO TULL in 1977. The previous two Millard recordings “LOS ANGELES 1977” and “PASADENA 1977” were “North America #1” before the album was released, but the Anaheim performance of this work was after the release. This was the 29th concert of “North America #2”. From this “North America #2”, the masterpiece “BOSTON 1977” also became a hot topic (this is the “Hezekiahx2” collection, not Millard), but this work is also released nine days after that. Originally, the Anaheim performance was announced on February 25th, and tickets were also on sale. However, as mentioned above, it was rescheduled to “April 6th”, probably because it had not been long since the UK tour. The artwork for this work also includes a same-day ticket owned by Millard, but what is printed on it is “2/25″ before adjustment. There was also a handwritten “4/6” written on the back. Up until now, readjustment has been talked about as speculation and speculation, but this recording and ticket are also proof that it will not work. Now, this work recorded at such a show is a transcendent masterpiece that shows Millard’s true potential. As mentioned above, there are some recordings of JETHRO TULL that are circulating without being known as Millard’s work, but this seems to be the first appearance of this work. And, its quality is one of the best in the Mirrored Collection. Apparently, the reason for this was the venue. The Anaheim Convention Center, where the recording took place, has a uniquely shaped ceiling (potato chip-shaped!?), so the recording position is particularly important. Millard found the sweet spot in the 1975 Rick Wakeman recording, and this work was recorded in that exact position (dead center in the 11th row). The results are clear. It has a core with no sense of distance and an elegant sound that is both raw and beautiful. Although it is well-arranged, as if it were an aesthetically pleasing mix of the raw sounds of the line, there is nothing artificial about it, as if it was an afterthought. Although it is on and powerful like a soundboard, it has a sense of presence that cannot be explained by that, and while it is filled with the beauty of an audience recording, it is full of vividness that makes it impossible to feel the presence of the atmosphere. It is an unparalleled beauty recording that has polished each of the virtues of mirrored recording to the utmost. In this world of beautiful sounds, the main character is the full show that fascinated the genius Millard. As mentioned above, 1977’s JETHRO TULL is a masterpiece/famous recording that can be called a miracle in the history of recording. I have mentioned the organization of the set many times, but I would like to mention it here as well. ・Standup: A New Day Yesterday (incl. Living In The Past)・Benefit: To Cry You a Song・Aqualung: Wonderin’ Aloud/Cross-Eyed Mary/Aqualung/Wind-Up/Locomotive Breath・Gerald’s Immaculate World: Thick As a Brick ・Warchild: Skating Away On The Thin Ice Of The New Day/Back-Door Angels ・Minstrel in the Gallery ・Rock’n’roll old but too young to die: Too Old to Rock ‘n’ Roll: Too Young to Die・Mysterious Forest-Pibrock Suite: Jack-in-the-Green／Songs From The Wood／Velvet Green／Hunting Girl・Others: Instrumental Jam／Symphony No.9, Op .125 (Ode to Joy) …and so it goes like this. Basically, it is faithful to the tour standard, but the details are different because JETHRO TULL is willing to change it on a daily basis. Compared to the closest “BOSTON 1977”, “Dambusters March” is performed instead of “Land Of The Hope And Glory” which was included in the last “Locomotive Breath” medley. The overall flow is tight, and among the masterpieces mentioned above, this is the live album that is most suitable to be called the representative work of “SONGS FROM THE WOOD Tour”.There is no need to take “LISTEN TO THIS EDDIE” as an example, 1977 The year was the peak of the legendary Mike Millard. It was a most fulfilling year in both quality and quantity, with over 30 recordings left behind, all of which are better than masterpieces. Moreover, the peak was in April. With this work as a starting point, I recorded 6 songs in 5 consecutive days. This work (4/6) and the next day (4/7) JETHRO TULL, RETURN TO FOREVER (4/8), Peter Gabriel (2 day and night performances on 4/9 and 4/10)… This work is also the start of the “5 days that were the peak of the peak” of the famous master in history. A masterpiece by JETHRO TULL, loved by Millard. The original master sound. Super best audience recording of “Anaheim performance on April 6, 1977”. This is the first appearance of the legendary master Mike Millard, and it has both a core with no sense of distance and an elegant sound, and is both raw and beautiful. Although it is well-arranged, as if it were an aesthetically pleasing mix of the raw sounds of the line, there is nothing artificial about it, as if it was an afterthought. Although it is on and powerful like a soundboard, it has a sense of presence that cannot be explained by that, and while it is filled with the beauty of an audience recording, it is full of vividness that makes it impossible to feel the presence of the atmosphere. A record of unparalleled beauty that seems to have honed each of the virtues of mirrored recording to its limits. This is the third mirrored recording of SONGS FROM THE WOOD Tour, but this is a masterpiece of a live album that can be called a masterpiece. Anaheim Convention Center, Anaheim, CA, USA 6th April 1977 ULTIMATE SOUND Disc 1 (51:18) 1. Wondr’ing Aloud 2. Skating Away On the Thin Ice of the New Day 3. Jack-In-The-Green 4. Thick As A Brick 5. Songs From The Wood 6. Conundrum (Tour Instrumental) 7. To Cry You A Song 8. A New Day Yesterday (incl. Bouree, Living In The Past) Disc 2 (65:46) 1. MC 2. Velvet Green 3. Hunting Girl 4. Too Old To Rock’N’Roll, Too Young To Die 5. Beethoven’s Symphony No. 9 (Ode To Joy) 6. Minstrel In The Gallery 7. Cross-Eyed Mary 8. Aqualung 9. Guitar Solo 10. Wind-Up / Back Door Angels 11. Locomotive Breath / Dambusters March / Back-Door Angels (reprise) Ian Anderson – Lead Vocals, Flute, Acoustic Guitar Martin Barre – Guitar John Glascock – Bass, Backing Vocals Barriemore Barlow – Drums, Percussion John Evan – Keyboards David Palmer – Keyboards, Synthesisers
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