Yes/CA,USA 1977 Jon Wizardo Master Cassette Tape

John Wizard’s master cassette excavation project is the eye of the 2021 typhoon. The latest work, the YES edition, which is also the decisive battle board of historical masters, is now available. [Two genius recorders who were present at the same venue] What is recorded in this work is “September 26, 1977 Long Beach performance”. This is the best audience recording. Some of you may have already come to this page with this date and title. Yes, it is exactly the same show as Mike Millard’s masterpiece “LONG BEACH ARENA 1977: MIKE MILLARD ORIGINAL MASTER TAPES”. Of course, even if it is the same show, it is recorded separately. The other day, FLEETWOOD MAC was compared with a mirrored recording with a difference of several days, but this work is truly the presence of two historical masters in the same venue/same space. It is a rival record recorded by two famous players in the history of recording. I’m curious about the sound and how the competition will turn out, but first, here’s an overview of the show. I think there are some people who don’t know about “MIKE MILLARD ORIGINAL MASTER TAPES (Virtuoso 418/419)”, so let’s look back at the overview of “GOING FOR THE ONE Tour”. [“Ultimate” released on July 15th] ・July 30th – September 3rd: North America #1 (32 performances) ・September 17th – October 9th: North America #2 (21 performances) ←★Here★・October 24th – November 8th: UK (12 performances) ・November 11th – December 6th: Europe (22 performances) This is the overall picture of “GOING FOR THE ONE TOUR 1977”. Rick Wakeman returns and conducts a large-scale world tour with the “Golden Five”. The Long Beach performance of this work was the 9th concert of “North America #2”. This work recorded at such a show is a beautiful recording of brilliance. Like other Wizard works, it is a recording that was released on LP in the analog era, but this work is different in freshness because it was made from the original cassette. Anyway, the sound is delicate, and even the slightly inhaled hall sound seems to sparkle. The core that penetrates through the center is sharp like a laser beam, but it is not intrusive, and it clearly depicts every detail. In particular, the extension of the treble and the pouring feeling of the midrange are exquisite, and the solemnity of symphonic sounds and the exhilaration of rock are perfectly fused. YES recording should be like that! It’s a sound that could serve as a role model. [Rigidity or brilliance? A showdown between geniuses that is rare in the world] Well, normally we would talk about the sound and move on to the content of the show, but this time it was special. Many people probably know the show content from the mirrored recording, and what is more interesting is what will happen to the “direct confrontation of famous recorders”. To be honest, I honestly think it’s hard to judge, but that’s such a boring conclusion. If I had to choose between a winner and a loser, it would be this one. In fact, although the sounds of the two are very similar, clear and neat, their strengths are different. The strength of mirrored recording is its “direct feeling.” Although the details are five minutes long, there is a strong core feel, and even the harshness of the base is powerful. It was a type of recording that felt so-called “soundboard-like.” On the other hand, the strengths of this work, which is a Wizard recording, are its “brightness” and “beauty.” The balance of each instrument is full of the beauty of symmetry, and the entire ensemble is depicted without individual notes standing out. Visually speaking, it looks like a luxury carpet. The pattern is beautiful when viewed as a whole, but when you pay attention to the details, you can see that every single stitch is painstaking and precise, and the feel of it evokes an indescribable pleasure. This time it was a direct confrontation with Millard recording, but rather the aesthetic sound is reminiscent of Kinney recording. I’ve always said, “Audience recording suits YES,” and this is one of the most famous products that fully expresses that meaning through sound. This work by John Wizard is filled with the beauty unique to audience recording, in contrast to the soundboard-like mirrored recording that everyone is surprised by. It was introduced because the content of the show is already well known and the more you listen to it, the more you are drawn into its beauty, so it was introduced, but both are completely 50/50. This is a historic recording that will never be compromised. Each piece is a wonderful piece of music, and by placing the two pieces side by side, you can get a feel for the differences in the skill and individuality of these historical master recording artists. An original cassette excavation full of deep enjoyment that only enthusiasts can enjoy. Please enjoy it to your heart’s content. The best audience recording of “September 26, 1977 Long Beach Performance”. It is the same show as the masterpiece “LONG BEACH ARENA 1977: MIKE MILLARD ORIGINAL MASTER TAPES”, but this work is a completely different recording by John Wizard. It’s a beautiful recording with a delicate sound, and the core is sharp like a laser beam, and the details shine brightly. In contrast to soundboard-like mirrored recordings, the sound is full of beauty unique to audience recordings, and you can feel the difference in the skill and individuality of not only YES Music but also historical masters. This is a masterpiece full of deep enjoyment that only enthusiasts can enjoy. Live at Long Beach Arena, Long Beach, CA. USA 26th September 1977 TRULY PERFECT SOUND Disc 1 (62:08) 1. Firebird Suite 2. Parallels 3. I’ve Seen All Good People 4. Close To The Edge 5. Wonderous Stories 6. Colors Of The Rainbow 7. Turn Of The Century ★4:58 – 5:07 Already released (mirrored sound source) supplement 8. Tour Song 9. And You And I Disc 2 (54:20) 1. Going For The One 2. Flight Jam 3. Awaken 4. Starship Trooper 5. Roundabout Jon Anderson – Vocals Steve Howe – Guitars Chris Squire – Bass Rick Wakeman – Keyboards Alan White – Drums