Description
I’m always excited about Mike Millard’s audience recording tape discovery by JEMS every week, but the sound source released this time is also surprising enthusiasts all over the world. That is the sound source that captured Neil Young’s show in Costa Mesa on August 18, 1989. He was thought to be an artist far away from Millard’s audience recordings, so it’s really surprising that such a sound source exists and that it suddenly appears. Moreover, I can’t help but be surprised by the fact that I was recording the stage in 1989, not the 1970s. The appearance of the sound source alone surprised enthusiasts around the world, but the recording was a perfect match between the 1989 solo tour (after the performance in Japan) and Millard’s work style. has also been proven. This is because on his 1989 solo tour, instead of sitting on a chair and giving a detailed acoustic performance as he had done up until then, Neil used the wireless system he had been using for a long time, and played while walking around the stage. Something aggressive to talk about. In addition, the volume emitted into the venue was so loud that it was said that the sound could be called acoustic rock. Millard’s work in capturing this loud acoustic sound is amazing. The “miracle is the default” level of quality, which is exceptional as an audience recording, is still alive and well this time, and combined with the volume of the volume emitted from the venue due to the aforementioned reason, the powerful sound image is truly “like a sound board.” Neil’s singing voice and the volume of the acoustic guitar are incredibly thick. What’s more, thanks to the loud acoustics and the style of singing while parading around the stage, the audience doesn’t have to listen in silence, and the performance is well-balanced, with a detailed sense of realism that can be heard from both sides of the performance. Excellent. However, it makes me laugh to see some members of the audience persistently yelling “T-Bone” after Neil asks “Do you have any requests?”… It’s a song that has never been played before. Not only that, but there’s no way they’d do it in an acoustic version! (Laughs) That’s a joke, but even though it’s an acoustic show unique to the 1989 solo tour, the unique sense of presence of the enthusiastic atmosphere is clearly conveyed. Regarding this tour, we are blessed with sound sources such as the official video version of “FREEDOM” and radio broadcasts summarizing performances in various places, but it is difficult to convey the excitement that was unique to that enthusiastic acoustic show. . Especially in the video version of “FREEDOM”, such an atmosphere was weak. In this regard, it can be said that the audience recording by Millard has demonstrated its true potential. Also, from this tour, the masterpiece album “BARSTOOL BLUES ’89” was released, which captured the show at Saratoga Springs about two weeks later in superb sound quality, but compared to that, the atmosphere of Neil’s live performance was completely different. Apparently. In Saratoga, “Winterlong” included two songs that were extremely valuable to perform in acoustic versions, such as “Barstool Blues” which also became the title, but this time in Costa Mesa, it was from the 1989 solo tour. So to speak, a fixed set list. However, this year was also a tour that fully demonstrated Neil’s aggressive attitude, playing his powerful new song “Rockin’ In The Free World” twice at the beginning and end of the show, and the audience enjoyed the Costa Mesa set. I think the list was easier to understand and more enjoyable because it had all the major songs. That’s why the enthusiasm was so obvious. In front of such a reaction, it is a mirrored recording of “miracle by default” quality that vividly captures the way Neil gives an aggressive performance that is hard to believe that he is singing. First of all, the first two songs, including the aforementioned “Rockin’In~”, are full of power and play. He overwhelms the audience with his strokes as if he were playing an electric guitar. Also, when Neil plays the harmonica in “Crime In The City”, it is a famous sight in 1989 to take the rhythm by hitting the body of the acoustic guitar, but the sound of hitting it is really vivid. If I listened to it with headphones, it would give me goosebumps. “Ohio” was performed as a tribute to the students who were involved in the Tiananmen Incident, whose memories were still fresh in their minds, and the pattern of having the audience sing along to “Rockin’ In~”, the second song sung at the end of the main part, is still alive and well. This is also very realistic thanks to the mirrored quality, and it is truly moving to see the audience get excited about the new song that had not been released at the time and sing along to it. Later, at the beginning of the album “FREEDOM”, a take at Jones Beach in June, which is famous for its video, was recorded, but unlike that, the performance and chorus are not edited here, and can be enjoyed as the actual performance itself. . With such high quality, there was no need to add equalization because the sound quality was so high. The only adjustment was made to the instability of the pitch at the beginning of the live performance, but as a result, the exceptional quality evolved to its strongest state. Still, you can fully enjoy the wonders of this tour with its aggressive acoustic live performance and comprehensive song selection. This is an item that can be called the definitive version of the 1989 solo tour without any price tag. Millard was amazing this time too! (Remastered memo) The first four songs are low with a slope of around 15% of a semitone, so I adjusted them. Live at Pacific Amphitheater, Costa Mesa, CA, USA 18th August 1989 TRULY PERFECT SOUND Disc 1 (50:41) 1. My My, Hey Hey (Out Of The Blue) 2. Rockin’ In The Free World 3. Sugar Mountain 4 . Helpless 5. Pocahontas 6. Crime In The City 7. This Old House 8. Too Far Gone 9. Roll Another Number For The Road Disc 2 (36:55) 1. This Note’s For You 2. The Needle And The Damage Done 3. No More 4. After The Gold Rush 5. Heart Of Gold 6. Ohio 7. Rockin’ In The Free World 8. Powderfinger Neil Young – Vocals, Acoustic Guitar, Piano, Harmonica Frank Sampedro – Guitar, Mandolin, Vocals Ben Keith – Dobro, Keyboards, Vocals
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