Description
The release of Mike Millard’s audience recording master, which is a weekly treat for enthusiasts, is finally featuring Led Zeppelin’s sound source. Isn’t it really appropriate that the first one was the first day of Long Beach in 1975? Speaking of the first day of ZEP Long Beach, it was the best audience that had produced countless items due to its high sound quality. The outstanding quality of the ZEP live sound sources that Millard left behind is comparable to that of “Eddie”, so even if you’re not a maniac, you can’t help but get hooked on collecting ZEP live sound sources. I’m sure there are quite a few people who have lost it. In any case, no one will dispute that this is the best live sound source of ZEP in 1975 captured by Millard. When such a famous live concert entered the 21st century, a sound board recording was discovered by EMPRESS VALLEY’s “LONG BEACH CALIFORNICATION”. With this, the world’s mirrored sound source will also be excused from its role… However, despite this, the popularity of his music never declined. It is true that the sound board reveals the details of the performance with intense clarity, but perhaps it is the fate of the sound source recorded from the PA out, that it lacks the sense of realism that is unique to live performances. Furthermore, I can’t help but feel that the momentum of the performance is spoiled. In that respect, the Millard recording took place on March 11, 1975, and breathed in plenty of the air at the Long Beach Arena, and the incredible sound image and clear freshness were overwhelming. As a result, this recording did not lose its value. How was it possible to achieve such outstanding high quality recording? The JEMS team clarified this when releasing the master tape this time. It was in 1975 that Millard introduced the combination of the AKG 451E microphone and Nakamichi 550 cassette deck that made it possible to achieve such high sound quality. He first tested the equipment at the Faces’ LA Forum concert in early March. That was the recording heard on their “L.A. FORUM 1975 MIKE MILLARD 1st GEN” CD, but it was also in preparation for the coming West Coast invasion of ZEP. I didn’t know that the concert I attended while also checking the equipment was the Faces. But it doesn’t stop there. Millard came up with the legendary “wheelchair preparation” idea and put it into action on his first day in Long Beach. Regarding this incident, it includes the testimony of Jim R., who procured a wheelchair and went to the arena with Millard at the time of its release, and that it was the beginning of what he called the “wheelchair era” in Millard’s recording career. It is. No wonder we were able to achieve an outstanding sense of stability and an astounding sound image. What’s more, Johnsy’s bass line is also captured with amazing grainy clarity. Perhaps because it was a monumental recording for Millard, this time JEMS has released an unusual sound source by first releasing the remastered version of the master. After that, I uploaded the master tape as it was, a “flat transfer” version so to speak. Regarding this sound source, JEMS released “LONG BEACH ARENA 1975: Mike Millard Unmarked 1st Gen Cassettes Transfer” a few years ago, and it sold out, but there is a difference in sound quality between that and this version. is obvious. Our staff was overwhelmed, wondering if there was such a huge difference in sound quality between the so-called low generation “Unmarked 1st Gen” and the master tape. Even “Unmarked 1st Gen”, which had such high sound quality and felt natural, sounds fluffy and muffled when faced with this version. Of particular note is the “Flat Transfer.” The texture and listening comfort are truly wonderful, and I would like to call it the ultimate in cassette audiences: delicate and natural. Mirrored is a taper that was originally focused on wide-range extension by using Dolby on/off and even increasing the hiss noise. I was finally able to enjoy it as it was. On the other hand, this is the remastered version that first appeared, and the finish here is also stunning. Although the sound of Bonzo’s drums and the edge of Plant’s MC between songs are a little unnatural due to the suppression of hiss, I think beginners will enjoy this one more. In particular, it is clear that JEMS wanted to bring Page’s guitar sound to the forefront through this equalization. And the performance is also wonderful. Among enthusiasts, the period from the next day to the second day in Seattle tends to be considered the peak of the 1975 American tour, but on this day, the day before that, ZEP’s light footwork performance that was ready to go out of control was the highlight of this day. Isn’t that a big attraction? In particular, the rhythm section’s flexible performance has a different charm from the runaway performance from the next day, and the first masterpiece is “In My Time Of Dying”. It is clear that when the key was lowered for live performance, they were aiming for a different approach from reproducing the profound atmosphere of the studio version, but the light and supple performance of the two rhythm sections and the front The two people’s arrogance blends well together. It is true that the performance from the next day to Seattle is high voltage, but it is also true that it looks like crap. In fact, “Dazed And Confused” continues to escalate from the next day onwards, but this performance, which falls within the standard 1975 American pattern, is more appealing and less tiring to listen to, and this is due to the master sound quality this time. It stands out even more. Also, when it comes to “Stairway To Heaven”, Page plays the phrases lightly this time, and this is also full of a different charm from the next day. In other words, the completed version of the 1975 American tour was completed on the first day of Long Beach, and it can be said that it led to the escalated play from the next day onwards. Even for enthusiasts who have listened to the Long Beach first day items that have been released so far, the upper feeling unique to this master tape will make them realize the charm of the performance once again. And both the remaster and flat transfer versions have their charms. Please enjoy to your heart’s content the legendary wheelchair recording that began here. Live at Long Beach Arena, Long Beach, CA, USA 11th March 1975 ULTIMATE SOUND(2 Versions) Disc 1 (54:52) 1. Intro 2. Rock And Roll 3. Sick Again 4. Over The Hills And Far Away 5. In My Time Of Dying 6. The Song Remains The Same 7. The Rain Song 8. Kashmir Disc 2 (53:44)53:42 1. MC 2. No Quarter 3. Trampled Underfoot 4. Moby Dick Disc 3 (55: 03)55:01 1. MC 2. Dazed And Confused 3. Stairway To Heaven 4. Whole Lotta Love 5. The Crunge 6. Black Dog FLAT TRANSFER Disc 4 (54:50)54:48 1. Intro 2. Rock And Roll 3. Sick Again 4. Over The Hills And Far Away 5. In My Time Of Dying 6. The Song Remains The Same 7. The Rain Song 8. Kashmir Disc 5 (53:43)53:41 1. MC 2. No Quarter 3. Trampled Underfoot 4. Moby Dick Disc 6 (55:02)55:00 1. MC 2. Dazed And Confused 3. Stairway To Heaven 4. Whole Lotta Love 5. The Crunge 6. Black Dog
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