Description
Mike Millard, an absolute master who loved YES. A new excavation of the ultimate master of the masterpiece level! The “Ultimate” tour is now available on the ultimate sound 2CD. The “Ultimate” era that embodied Millard’s ideals This work is engraved with the “September 24, 1977 Inglewood performance”. It is a super-excellent audience recording recorded at “The Forum”, Millard’s garden and a place where many famous recordings have been made. Millard was enthusiastic about YES recordings, and left behind a huge number of masterpieces from the “Tales of Topographical Oceans” tour to the 8-person YES, but the most special of them all was the “GOING FOR THE ONE Tour”. And this is the masterpiece. In other words, even among Millard’s many YES collections, this work is the culmination of his work. First of all, why is “GOING FOR THE ONE Tour” so special? The three points are “equipment”, “members” and “performance style”. When Millard started recording for “Topographical Oceans,” he had not yet introduced the signature “AKG 451e + Nakamichi 550,” so he was not able to show his true potential. In March 1975, he introduced the “AKG 451e + Nakamichi 550,” but at that time YES was in the “Relayer” era. Of course, that was not a bad thing, but Millard was a particular fan of Rick Wakeman. And the year was 1977. With Rick back, YES became the ideal form that Millard wanted, and the absolute master put his heart into recording. After that, Millard continued to record “YES with Rick,” but after “Tomato,” YES introduced a rotating stage. This also did not seem to be Millard’s preference, and as a result, the only one he was able to record with “Nakamichi used / Rick included / normal venue” was “GOING FOR THE ONE Tour.” Millard’s masterpiece of the ultimate tour This is the third Millard work to convey the “GOING FOR THE ONE Tour” where all wishes are met. First, let’s check the positional relationship of each in the tour schedule. “Ultimate” released on July 15th・July 30th – September 3rd: North America #1 (32 shows)・September 17th – October 9th: North America #2 (21 shows)←★here★・October 24th – November 8th: UK (12 shows)・November 11th – December 6th: Europe (22 shows)Details of “North America #2″・September 17th – 22nd (6 shows) *September 23rd “L.A FORUM 1977 1ST NIGHT” *September 24th: Inglewood show ←★this work★・September 25th: San Diego show *September 26th “LONG BEACH ARENA 1977″・September 27th – October 9th (12 shows)… and so on. Millard went to see “North America #2”, which was recorded intensively at three shows. We have introduced the masterpieces “LONG BEACH ARENA 1977” and “L.A FORUM 1977 1ST NIGHT”. Each was a masterpiece by Millard, but this work is the best masterpiece that breaks through both of them and takes the throne. I expected that “1ST NIGHT” would be better because the master had deteriorated, but I was surprised that it would surpass “LONG BEACH ARENA 1977”. That masterpiece was also an impeccable superb sound, but this work is even more on, thick, and tight. Even “LONG BEACH ARENA 1977”, which felt so much like a soundboard, feels like a typical audience recording after listening to this work. The ultimate live album with everything In fact, this work has a super direct feeling that is “like a soundboard”. At the start of the show and between songs, the lively cheers are absorbed, so it must be an audience recording, but there is no sense of air in the essential performance sounds and vocals. It seems that it was recorded from the second row in the front, but there is no sense of sound wrap around at all. Speaking of position, the stereo balance is excellent. The center of the stage seems to be directly in front, and the ensemble is extremely well-balanced without being biased to the left or right. This positioning is not a coincidence, but as Millard intended. Although it is not revealed how he did it specifically, it seems that he had refined his know-how of obtaining tickets in 1977. If you can aim for such a good seat, it is understandable that he dislikes the rotating stage. Mike Millard, a recording genius who loved YES throughout his life. “GOING FOR THE ONE Tour” is a tour that has everything that such an absolute master wants for YES, and this work, which was created by the original master, is its masterpiece. A super-excellent audience recording of the “September 24, 1977 Inglewood performance”. The original master of the absolute master Mike Millard, this is a super direct sound that goes “like a sound board”. The “Ultimate” era was an ideal tour that met all the conditions that Millard wanted, and this work is the best of them all. This is Millard’s ultimate live album, who loved YES for his whole life. The Forum, Inglewood, CA, USA 24th September 1977 TRULY PERFECT SOUND UPGRADE Disc:1 (49:57) 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 Disc:2 (62:43) 1. Tour Song 2. And You And I 3. Going For The One 4. Flight Jam 5. Awaken 6. Starship Trooper 7. Roundabout Jon Anderson – vocals, guitar, percussion Steve Howe – guitar Rick Wakeman – keyboards Chris Squire – bass Alan White – drums
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