Description
A project to discover the masters of legendary master Mike Millard, who does not slow down even after the new year. Introducing their latest work, a high-class live album that has been declared “one of their best masterpieces.” What is recorded in this work is “July 28, 1978 Santa Monica Performance”. It is a transcendental audience recording. If you’re a fan, you’ll probably be wondering, “That day?”, but in order to explain what that means, let’s first look at the show’s position. Let’s look back at the schedule from the time when they made their sensational debut with “U.K.”. [January: “U.K. (Four Patriotic Warriors)” released] April 29th – May 15th: UK (13 performances) – June 23rd – August 8th: North America #1 (22 performances) ★Coco★・September 1st – October 8th: North America #2 (11 performances)・November 9th: Cleveland performance《November: Disbandment of the quartet → Start of production of “Danger Money”》This is the original U.K. activity overview. The main event was a North American tour of about 3 months, but the Santa Monica performance of this work is in the middle of it. This was the 17th concert of “North America #1”, which served as the opening act for Al Di Meola. Speaking of this period, the official board “CONCERT CLASSICS, VOL.4” that recorded the Boston performance is famous, but this work is also 17 days later. Well, such a Santa Monica performance has been familiar to enthusiasts for a long time. It was broadcast on the radio, and its FM sound board sound source has become a classic…I used the subtle expression “has been” here, but in fact, this work has overturned this common belief. In fact, the best soundboard that has been considered a classic was an audience recording by Millard. This work is the ultimate version upgraded with the original cassette as proof of that. There is no doubt that it is the same recording as the previous one from the cheers that can be heard between songs, but it was recorded from an earlier timing than the previous one, and “Caesar’s Palace Blues”, which has not been released so far, is also perfect. That alone is proof of the origin, but what is truly shocking is the sound itself that runs through the entire story. This is already the “super” best. The prestigious “JEMS” that we are excavating also says that it is “counted as one of Mike’s best masterpieces”, and there is no objection to that word. After all, even the conventional version with a generation failure was believed to be an FM sound board and was not suspected (I think so even when listening to it now), but this work is the ultimate generation unique to Omoto cassette. In fact, the direct feeling of zero distance, the vivid details, and the rich sound typical of official works are at a level that makes you think, “I can only hear it from FM broadcasts.” Furthermore, there is no hiss that was noticeable on the previous version, and the sound is as glossy as nectar, with no traces of dubbing. Holdsworth’s guitar with clear picking nuances, Blueford’s delicate hand movements, Wetton’s bass roaring, Jobson’s vividly dancing synths and violin… Many of the feats said to be the best in the progressive rock world are felt in a super realistic and direct manner (although some adjustments have been made to suit modern audio equipment, the sound is still as great as the original). With such a transcendent sound, this is a full show by a quartet called the last hero of British prog rock. Here, let’s organize the set while comparing it with the traditional “CONCERT CLASSICS, VOL.4”. U.K. (Four Patriotic Warriors) / B-side: Alaska / Time To Kill / A-side: Thirty Years / By The Light Of Day (▼) / Presto Vivace (▼) / In The Dead Of Night Others / Danger Money: The Only Thing She Needs/Caesar’s Palace Blues (★) One of a Kind: Forever Until Sunday (▼) *Note: “★” is a song that was not included in the previous release. Also, “▼” is a song that cannot be heard on “CONCERT CLASSICS, VOL.4”. …and it looks like this. The official box “ULTIMATE COLLECTOR’S EDITION” also included a long version of “CONCERT CLASSICS, VOL.4”, but “Forever Until Sunday” was a song that could not be heard there. Of course, as mentioned above, you can also enjoy “Caesar’s Palace Blues”, which was not in the previous release of the same recording. Since it was the opening act for Al Di Meola (meaning that the audience that day watched Holdsworth and Di Meola all at once, I’m so jealous), it only lasted about 46 minutes, but it was packed in such a short amount of time. The flow is also amazing. From the beginning, the B-side world of “The Patriotic Four” is depicted for about 9 minutes (2 songs), and in the middle, the A-side is played in its entirety, although the order of the songs is changed. In between, new songs such as two songs from the next album “Danger Money” and “Forever Until Sunday” released as BRUFORD are inserted. This is a show that expands and reinterprets the world of “The Patriotic Four” with stage tension, including thrilling interplay. The famous recording that was believed to be an “FM sound board” for a long time and was not suspected was actually Millard’s masterpiece. This work is the ultimate upgrade board that has been digitized directly from the original cassette. The epithets “better than a soundboard” and “just like FM broadcasting” are often used for the best audience recordings, but this work is a super-excellent masterpiece that is like a sample. This is a new masterpiece that allows you to experience the original U.K. 100% realistically with such a transcendent sound. Superb audience recording of “July 28, 1978 Santa Monica Performance”. The sound source has long been known as an FM sound board, but it is actually a guest recording by the legendary master Millard. This is one of the most famous products that has been digitized directly from the original cassette. Not only can you listen to the previously unreleased “Caesar’s Palace Blues,” but the sound has also been upgraded. Although it is a super famous recording that was originally thought to be an FM broadcast, this work has the ultimate generation freshness, there is no hiss noise that was noticeable on the previous version, and the glossy sound with no dubbing traces is like nectar. You can fully experience the virtuosity of the original U.K. with a completely official audience (?). Live at Civic Auditorium, Santa Monica, CA, USA 28th July 1978 TRULY PERFECT/ULTIMATE SOUND (46:03) 01. Alaska 02. Time To Kill 03. The Only Thing She Needs 04. Forever Until Sunday 05. Thirty Years 06. By The Light Of Day 07. Presto Vivace 08. In The Dead Of Night 09. Caesar’s Palace Blues John Wetton – Bass, Vocals Eddie Jobson – Keyboards, Violin Allan Holdsworth – Guitar Bill Bruford – Drums, Percussions
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