Rolling Stones/CA,USA 11.4.1989 Mike Millard Master Tapes

Speaking of the Rolling Stones’ 1989 Oakland, “OAKLAND 1989 1ST NIGHT” has already been released, but this time a new recording by Mike Millard of the same day was unearthed during his weekly master release. “OAKLAND 1989~” was also a recording released online, but the excitement of the people who witnessed the Stones’ revival in 1989 was tremendous, and more than that, it was a recording for enthusiasts or with a high hurdle in that the friction noise of the microphone was heard in some scenes. Speaking of Millard’s recording of the Stones’ 1989 tour, “LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES”, which was released last year and sold out with great acclaim, was released in one pair, and the recording condition is the same this time. Therefore, the sound image is a little distant for a mirrored recording, but this is proof that it was difficult to secure a good position on the stadium tour, where the Stones’ revival attracted attention from all over the world and tickets were a battle for. However, this time the sound quality surpasses that of “LOS ANGELES 1989~”, and the secret to its ease of listening is that the direct feeling of the performance is transmitted more clearly than that. And above all, it is the mirrored quality that allows you to listen to it to the end in a much more stable state than “OAKLAND 1989 1ST NIGHT” (hereinafter referred to as the “already released”). When the previously released version was released, the friction noise of the microphone that was first touched was a big stress, and above all, there is no problem this time such as the cut during the performance that occurred in “Dead Flowers” due to the tape change. In addition, it is typical of mirrored that the surroundings are captured in a very quiet situation, and the biggest difference is that the recording environment is so different that it is easy to be mistaken as being a different concert compared to the previously released version. The mirrored recordings are completely free of the noise and excitement of the surroundings and conversations that were there. The recording conditions are so different, yet still listenable with peace of mind, that one of the major advantages of the new recordings is that there are discoveries that were not audible on the previous releases. For example, before starting “Harlem Shuffle,” Mick calls out “Charlie,” which can be clearly heard this time, but on the previous releases, this was buried in the sense of distance and difficult to hear. In addition, now that this has become an irreplaceable scene, I can’t help but feel grateful for the mirrored recordings. And above all, the point is that Charlie’s drumming can be heard much more clearly than on the previous releases. 1989 was the beginning of a new playing style in terms of his drumming, and the pleasant “taka-kata-kata-ka” fill-ins that ring out everywhere. The fill-in is brilliant around “Brown Sugar”, which has now disappeared from the repertoire, and the recording is in a state that makes you remember Charlie. The performance as a whole is solid even after two months since the start of the tour, but thanks to the high sound quality unique to Millard, you can still hear the band rushing along with their runaway momentum. This is especially noticeable from “Sad Sad Sad”, and it makes you realize that the high-tension performance felt even from the already released version was not false. Among them, Mick is really in top form, and the tension of the Stones members, including Mick, is so high that you might wonder if this day was also a recording for the public. Among them, Ronnie is the only one who shows unevenness in the performance with his own light mood. Ironically, thanks to the Millard recording, which has a clear outline of the performance, the difference between his emotional solos and the songs that are not is clearly visible, and the leads he plays on songs like “Undercover Of The Night” and “Angie” are in a dull tone, but when he plays “Dead Flowers” on a string-vented Telecaster, he plays a spirited phrase, and in the following songs, he plays as if he has awakened. That’s why it was painful to see the previous release with the cut in the interlude of the song. And speaking of Oakland, we must not forget the Stones’ first bootleg “LIVER THAN YOU’LL EVER BE”, but while that historic live performance was recorded by Dub Taylor of TMOQ on November 9, 1969, this recording was recorded by Mike Millard on a near-miss date of November 4, 1989, so to speak, “LIVER THAN ~” 20 years later. Don’t miss out on Millard’s new 1989 audience album, which will be of even higher quality than the sold-out masterpiece “LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES”! Oakland Alameda County Coliseum, Oakland, CA, USA 4th November 1989 TRULY PERFECT SOUND Disc 1 (73:40) 1. Continental Drift 2. Start Me Up 3. Bitch 4. Sad Sad Sad 5. Undercover Of The Night 6. Harlem Shuffle 7. Tumbling Dice 8. Miss You 9. Ruby Tuesday 10. Angie 11. Dead Flowers 12. Rock And A Hard Place 13. Mixed Emotions 14. Honky Tonk Women 15. Midnight Rambler Disc 2 (68:53) 1. You Can’t Always Get What You Want 2. Before They Make Me Run 3. Happy 4. Paint It Black 5. 2000 Light Years From Home 6. Sympathy For The Devil 7. Gimme Shelter 8. Band Introductions 9. It’s Only Rock ‘n Roll 10. Brown Sugar 11. Satisfaction 12. Jumping Jack Flash