Description
The MOODY BLUES of the Patrick Moraz era, which was successful in the 1980s while transitioning to a pop sound, is here. A new masterpiece recorded by an absolute master at the end of that period. This work is recorded at the “August 30, 1990 Costa Mesa performance”. It is a superb audience recording by the absolute master Mike Millard. In terms of studio works, it corresponds to the “SUR LA MER” era, but more than two years have passed since the album was released. First of all, let’s look back at the schedule at that time to get an idea of the situation around that time. 1988 (June 6th: “SUR LA MER” released) July 27th – September 9th: North America #1 (41 shows) September 30th: Ibiza show October 19th – November 12th: North America #2 (22 shows) 1989 January 27th + 28th: Stateline (2 shows) March 3rd – 11th: North America #3 (5 shows) July 18th – 30th: North America #4 (16 shows) (November 21st: “GREATEST HITS” released) ●1990 June 28th: Appearance at Midtfyns Festival July 13th – September 8th: North America #5 (42 shows) ←★Here★ (October: Production of “KEYS OF THE KINGDOM” begins) This is THE MOODY BLUES from 1988 to 1990. Although there were a few events in Europe, you can understand that they were almost exclusively active in North America. The Costa Mesa performance in this work is the final one. It was the 35th concert of “North America #5”. After the tour, they started working on “KEYS OF THE KINGDOM”, but there was a feud between the band and Moraz. He was credited as a support member rather than an official member on the album, and then he left the band. As a result, “North America #5” was the last tour of the Moraz era. Also, this “North America #5” was not the “SUR LA MER Tour”, but the “MCMXC Tour”, a promotional tour for the best album “GREATEST HITS”. It was truly the final live performance of the Moraz era in both name and reality. This work, which records such a scene, is an exceptional super-excellent recording even in the Millard Collection. It is simply thick, has no sense of distance, and is super beautiful. Millard was inactive from 1983 to 1988, but this work is from the resumption period. The accuracy of fully utilizing the performance of Nakamichi has not changed at all from the past, and the quality has improved as the sound output from the band has evolved. However, perhaps because it was not fully compatible with the 1980s sound, the bass was perceived as a bit heavy in the original sound on the net. Therefore, the balance was adjusted in this work. While maintaining the beauty of the original sound, it was polished with mastering to enhance the perfection as a musical work. The full show that summarizes the heyday of the 1960s to 1980s is depicted with such a top-of-the-line updated sound. Several official live performances from the Moraz era have been excavated, but the one that is closest to the time is the 1986 Cleveland performance recorded in the box “POLYDOR YEARS 1986-1992”. Let’s organize the set while comparing it here. 60s/70s (9 songs) – Days of Future Past: Tuesday Afternoon/Nights In White Satin – In Search of the Lost Chord: Legend Of A Mind/Ride My See-Saw (★) – Mugen: Lovely To See You (★) – Question of Balance: Question – Dome: The Story In Your Eyes – Seventh Sojourn: Isn’t Life Strange/I’m Just A Singer (In A Rock And Roll Band) 80s (6 songs) – Amami Mei: Gemini Dream/The Voice – The Other Side of Life: Rock ‘n’ Roll Over You/Your Wildest Dreams/The Other Side Of Life – Sur La Mer: I Know You’re Out There Somewhere (★) *Note: Songs marked with “★” are songs that could not be heard at the Cleveland performance in the official box set “POLYDOR YEARS 1986-1992”. … and so on. There is no core album, but a wide selection of representative songs from each album. It is a live performance with a rich variety that truly sums up the whole. In addition to the 1986 Cleveland performance, there are also official takes from the Moraz era, such as the 1979 Seattle performance, the 1983 Inglewood performance, and the 1974 Wembley performance, but “Lovely To See You” and “I Know You’re Out There Somewhere” are not included in any of the official live performances. Also, after Moraz’s departure, the official work “LIVE AT THE MONTREUX 1991” unearthed last year is the most recent work, but the three songs “The Voice”, “Rock ‘n’ Roll Over You”, and “I Know You’re Out There Somewhere” are delicious repertoires that cannot be heard there either. Although the Moraz era has been officially excavated in recent years, the “MCMXC Tour”, which is the summary of the era, is still unexplored. This work is a new masterpiece that allows you to fully experience the ultimate scene with the official barefoot mirrored sound. A superb audience recording of the “August 30, 1990 Costa Mesa performance”. This is an exceptional superb recording even in the absolute master Millard collection, and it is simply thick and super beautiful without any sense of distance. 1990 was the period when Millard resumed his activities, but the accuracy of fully bringing out the performance of Nakamichi is the same as in the past, and the quality has improved as the sound output from the band has evolved. You can experience the full show of the Moratz era, including “Lovely To See You” and “I Know You’re Out There Somewhere”, which cannot be heard in the official live work, with the quality of the official barefoot. Millard’s masterpiece? A miraculous ultra-high quality recording! Pacific Amphitheater, Costa Mesa, CA, USA 30th August 1990 ULTIMATE SOUND Disc 1 (52:15) 1. Lovely To See You 2. Gemini Dream 3. The Voice 4. Rock ‘n’ Roll Over You 5. Tuesday Afternoon 6. I Know You’re Out There Somewhere 7. The Story In Your Eyes 8. Your Wildest Dreams 9. Isn’t Life Strange Disc 2 (47 :27) 1. The Other Side Of Life 2. I’m Just A Singer (In A Rock And Roll Band) 3. Nights In White Satin 4. Legend Of A Mind 5. Band Introductions 6. Question 7. Ride My See-Saw Graeme Edge – Drums, Vocals Justin Hayward – Guitar, Vocals John Lodge – Bass, Vocals Patrick Moraz – Keyboards, Vocals Ray Thomas – Flute, Percussion, Vocals Bias Boshell – Keyboards Bekka Bramlett – Backing Vocals Terry Wood – Backing Vocals
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