Kinks/CA, USA 1978 Remastered

How much will the sound source left behind by Mike Millard continue to surprise us? Last week, a surprising mirrored sound source was released by JEMS. That was the Kinks concert held at the Universal Amphitheater in LA on June 25, 1978. Surprisingly, Millard even recorded the Kinks. However, not only that, but the period when he was recording is very valuable. The Kinks of this year started a tour in May with the new album “MISFITS”, but in the first place there are almost no items that capture the 1978 stage since the LP era. Last year, as if reflecting the success of “SLEEPWALKER,” which was a big hit in the United States and took a complete turn from the concept album path of Ray Davies and returned to a straight rock path, live recordings were released throughout the year. A blessed time. On the contrary, there is even a live video of the Rainbow Theater in London, which is a staple at the end of the year. In fact, titles such as “NIGHT STAKER” was released on the sound board album “LIFE GOES ON” in February 1977, and the masterpiece audience “JUKE BOX MUSIC” recorded by Dan Lampinski towards the end of the highly successful year. I was there. This year, 1978, is in contrast to the fulfilling 1977, but I thought that the Kinks of this year would jump straight into a straight rock route after the success of their previous album, but the sound was surprisingly calm. Released the hidden masterpiece “MISFITS”, which is summarized in the melody. However, sales are at a standstill, and this seems to be reflected in the lack of sound sources and items. All I can say is that it was a stroke of luck that Millard captured the Kinks in June 1978. What’s more, he was heading to LA’s Universal Amphitheater. Millard had already visited this venue in the first half of this month, and was able to capture Bob Dylan’s series of performances there with shocking quality that could be described as “miracle by default”, and he was able to capture them with such shocking quality that they were released. I think many enthusiasts remember this. In other words, Universal Amphitheater was a venue that Millard knew about in June 1978. If that happens, it is like it was promised that the Kinks stage would be recorded with outstanding quality. Perhaps because they were an unrelated group in terms of Millard’s recording career, JEMS obtained the second generation copy tape this time. Perhaps this is the only tape in existence. Fortunately, it is a copy in the low generation category, so the sound quality is still of the highest quality, and reflecting the work done at the venue where recording is accustomed for the reasons mentioned above, the tremendous sound image here is at the sound board level. For this release, we have carefully adjusted the pitch deviation that occurred only in the first three songs. This has elevated you to a state where you can listen to mirrored recordings of amazing quality with confidence. Other than that, the sound quality is really excellent this time as well, so I didn’t apply any equalization or anything, and there was no need to do so. The 1978 Kinks stage that can be enjoyed with Millard’s finest quality is too valuable. First of all, the most noteworthy thing is that in 1977, the chorus and horn section that accompanied the band as a remnant of the concept era were finally removed. A band formation that plays straight rock was completed on this tour for the upcoming big break after 1979. However, unlike the straight and easy-to-understand sounds from 1979 onwards, which also have a hint of flavor, the sound and structure are very attractive, as they still have a profoundness to them. Naturally, the song featuring songs from “MISFITS” on a large scale seems to be from the tour immediately after its release, and the song on which Dave Davis takes lead vocals is “Trust Your Heart” from the same album, which is valuable as well. , which speaks to the nature of this tour. What’s even more amazing is his guitar playing. Although it is no longer mentioned today, Dave was the only guitarist in a British beat group in the 1960s who was able to transition to a hard rock or heavy metal style. For example, in “Mr. Big Man” and “Hey Fever”, his technical and sophisticated hard rock guitar explodes. His older brother Ray is an even more outstanding showman. It is said that it was on this tour that the teaser of “Lola”, which has become a regular event at Kinks live performances since then, began. Here, while showing the appearance of inciting the performance twice, it was finally performed for the third time in the middle of the show, and of course the audience was overjoyed. The excitement of the audience at the amphitheater was tremendous in front of Ray’s wonderful show-up technique, and the sense of realism was captured with great balance. It’s natural to sing along to the famous song “Sunny Afternoon,” and after “Alcohol,” which is always sung as a sideshow at Kinks shows, Ray, who is in top form, sings “Ducks on the Wall,” an almost acapella number from the concept era. When they put it out, the audience sings it in chorus, which is so exciting. Finally, the best scene of the incredible call and response is captured in “Live Life” from the just released album. Then, before the encore, it was announced that John Dalton, the bassist who supported the Kinks in the 70s, was coming to see the performance, and the venue became very warm. Of course, immortal masterpieces such as “You Really Got Me” and “All Day And All Of The Night” are also played with hyper momentum. Millard captured the best sound quality of the Kinks, who had come back to life after the success of the previous year, and performed in “MISFITS” mode at the amphitheater ahead of their big break in the United States. The best audience album that can be recommended with confidence not only to Kinks mania but also to all rock fans! (Remastered memo) The first three songs have a high slope of around 30% of a semitone, so I adjusted it. I increased the overall sound pressure and also increased the small sound pressure at the beginning. Universal Amphitheater, Los Angeles, CA, USA 25th June 1978 TRULY PERFECT SOUND Disc 1 (57:39) 1. Intro 2. You Really Got Me Intro 3. Life On The Road 4. Sleepwalker 5. Mr. Big Man 6. Waterloo Sunset 7. Misfits 8. Permanent Waves 9. Hay Fever 10. Lola 11. Celluloid Heroes 12. Well Respected Man 13. Death Of A Clown 14. Sunny Afternoon Disc 2 (44:39) 1. Band Introductions 2. Trust Your Heart 3. You Really Got Me 4. Slum Kids 5. Demon Alcohol 6. Rock & Roll Fantasy 7. All Day And All Of The Night 8. Live Life 9. Hello John Dalton 10. Juke Box Music Ray Davies – vocals, guitar Dave Davies – lead guitar, vocals Mick Avory – drums, percussion Jim Rodford – bass, backing vocals Gordon Edwards – keyboards, backing vocals