Description
The super masterpiece of the absolute master Mike Millard is back. The super masterpiece is recorded in the “Santa Monica performance on July 28, 1978”. It is a super-class audience recording. If you are a enthusiast, you may know “that day?”, but to explain the meaning, let’s start with the position of the show. Let’s look back at the schedule at the time when “U.K. (The Four Patriots)” made a sensational debut.・April 29-May 15: UK (13 shows) ←※RAINBOW THEATRE 1978《May: Release of “U.K. (The Four Patriots of the Country)”》・June 26-August 8: North America #1 (34 shows) ←★Here★・September 8-October 8: North America #2 (24 shows) ←※NEW ORLEANS 1978, etc.・November 9: “CLEVELAND 1978” and others《November: Four-piece disbanded → Production of “Danger Money” begins》This is the 1978 U.K. Research has progressed since the last time we introduced it, and more detailed information about the tour has emerged. Our shop archives each leg with numerous famous records, but “North America #3” in particular is the biggest battleground in the U.K., where famous records are crowded. The official “CONCERT CLASSICS, VOL.4” was also born from this leg. Let’s focus on the dates and check the relative positions of each. Details of “North America #1” June 26: Toronto performance * June 27 “EL MOCAMBO 1978” June 28-July 3 (5 performances) * July 4 “INDEPENDENCE DAY: MORRISTOWN 1978” July 5 + 6 (2 performances) * July 7 “PROGRESS INDEX” * July 8 “PAINTER’S MILL: MARYLAND 1978” July 10: Ocean City performance * July 11: Official “CONCERT CLASSICS, VOL.4” July 11-16 (5 performances) * July 17 “PUNCH AND JUDY: GROSSE POINTE 1978” July 18: Grosse Pointe performance * July 19 “PUNCH AND JUDY: GROSSE POINTE 1978′ July 20-27 (5 performances) * July 28: Santa Monica performance ←★ This work ★ July 29-August 8 (6 performances) There are a lot of impressive titles lined up, but this work’s Santa Monica performance is the final one. It was the 28th concert that served as the opening act for Al Di Meola. Such Santa Monica performances have been familiar to enthusiasts for a long time. It was broadcast on radio, and the FM sound board sound source was considered a standard, but in fact, that was incorrect. It was Millard’s master excavation project that overturned that common belief. What flowed out of the absolute master’s collection was “that sound” that had been thought to be a sound board until now. Yes, the standard among the standard was the audience recording made by Millard. Moreover, what was excavated was the original master. The familiar recording blew out with an unexpected upgrade sound. There is no doubt that it is the same recording as the previous one, even from the cheers heard between songs, but it was recorded earlier than the previous group, and the previously unreleased “Caesar’s Palace Blues” is perfect. That alone is proof of the original, but what is truly shocking is the sound itself that runs through the entire work. This is already “super” superb. The prestigious “JEMS” that excavates it says that it is “counted as one of Mike’s masterpieces,” but there is no exaggeration in that word. Even the conventional version of the Gene-fall was believed to be an FM sound board (I think so even now), but this work is the ultimate Gene unique to the original cassette. In fact, the zero-distance direct feeling, the vivid details, and the rich sound of the official work are at a level that “this can only be heard on FM broadcasts.” Furthermore, there is no hiss noise that was noticeable on the conventional version, and the glossiness of the sound without any dubbing marks is like nectar. Holdsworth’s guitar with precise picking nuances, Bruford’s detailed hand movements, Wetton’s bass roaring with a bang, Jobson’s synth and violin dancing vividly… The many virtuoso skills that are said to be the best in the progressive rock world are felt super real and direct (although they have been fine-tuned to suit modern audio equipment, the sound is still so amazing that it is not much different from the original). Such an amazing sound depicts the full show of the quartet, known as the last hero of British progressive rock. Here, let’s organize the set while comparing it with the traditional “CONCERT CLASSICS, VOL.4”. U.K. (The Four Patriots) 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: “★” indicates songs that were not included in the previous releases. Also, “▼” indicates songs that cannot be heard on “CONCERT CLASSICS, VOL.4”. … and so on. 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 either. Of course, as mentioned above, you can also enjoy “Caesar’s Palace Blues”, which was not included in the previous releases of the same recording. As an opening act for Al Di Meola (which means that the audience on this day saw Holdsworth and Di Meola at once. How enviable), the time limit was about 46 minutes, but the flow condensed in that short time was also wonderful. From the beginning, the B-side world of “The Four Patriots” was drawn for about 9 minutes (2 songs), and in the middle, the order of the songs was changed but the A-side was played in its entirety. In between, new songs such as two songs from the next work “Danger Money” and “Forever Until Sunday” to be released as BRUFORD were sandwiched. Including thrilling interplay, it is a show that expands and reinterprets the world of “The Four Patriots” with stage tension. The famous recording that was believed to be “FM sound board” for a long time was actually Millard’s masterpiece. This work is the ultimate upgrade board that was directly digitized from the original cassette. A superb audience recording of “Santa Monica performance on July 28, 1978”. This is a sound source that has long been known as an FM sound board, but it is actually a recording by the legendary master Millard. This is a masterpiece that was 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. You can fully experience the original U.K.’s virtuosity with a completely official audience. Live at Civic Auditorium, Santa Monica, CA, USA 28th July 1978 TRULY PERFECT/ULTIMATE SOUN (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 We tton: Bass, Vocals Eddie Jobson: Keyboards, Violin Allan Holdsworth: Guitar Bill Bruford: Drums, Percussions
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