ARMS / LA Forum 1983 2nd Night Mike Millard First Generation Tapes / 2CD

ARMS / LA Forum 1983 2nd Night Mike Millard First Generation Tapes / 2CD / Wardour

The Forum, Inglewood, CA, USA 6th December 1983

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Volume 65, the last in 2020 of “The Lost and Found Mike the MICrophone Tapes Series” released by JEMS, is a treasured live sound source of Mr. Mike Millard, a legendary taper that changed the concept of audience recording. On December 6, 1983, when it wasn’t distributed among tape traders at all and wasn’t even a bootleg, it was an all-star LA forum performance by ARMS! Of course, he was the master of the first generation, and the sound quality was super high, which surprised our staff! Until the end of the year, JEMS preserved this ridiculous treasure. [Ultra-high-quality audience recording that realistically conveys the miracle stage of “three major guitarists”] The A.R.M.S. concert was “a concert that every rock fan had been waiting for, but was thought to be impossible.” If you’re a longtime British rock fan, you’ll understand how historic this was, but for those who don’t, let’s start with an overview of this ARMS project. .. A.R.M.S. is an acronym for “Action Research into Multple Sclerosis,” which translates directly to “action for investigating treatment measures for multiple sclerosis.” Multiple sclerosis is said to be an incurable disease, and muscles throughout the body harden over time, eventually causing the involuntary heart to stop and die. It is said that the cause is unknown, and it is an intractable disease that develops suddenly regardless of the genetic constitution. In order to save Ronnie Lane, a former Faces bassist who developed the disease in 1977, musicians related to Ronnie gathered to hold a concert to raise funds for the treatment research institute of the disease, and the profits It was a concert that donated all of. When planning and holding the concert, Ronnie Lane’s wife asked Pete Townshend of The Who, Ronnie’s best friend musician, for help. However, at this time, Pete was facing a crisis of survival of the band, a crisis of family collapse and divorce, and was in a situation of alcohol and drug addiction to escape the stress. So Pete approached Eric Clapton, who is also a common friend with Ronnie, to give this big role. Clapton, who thought about Ronnie’s body, agreed with it, and produced early versions of producer Glyn Johns (Clapton’s albums “SLOWHAND” and “BACKLESS”, The Who’s “WHO’S NEXT” and The Beatles’ “LET IT BE”. It was this concert that was organized with the cooperation of the British who produced it. If Clapton is a concert for Ronnie who is personal and loved by everyone, he will be pleased with the audience not only with his own band but also with a gorgeous concert that gathers friend musicians who agree with the purpose of the concert. I wanted to get it, so I recruited performers that wouldn’t normally be possible. The highlight was the four signboards of “Three Great Guitarists” with himself, Beck, and Page + Steve Winwood, a British rock star who once worked with Blind Faith. Clapton himself wanted to co-star with three Yardbirds guitarists of all time. The backmen who supported it were the Rolling Stones, Faces members, and other talented musicians who have been active in the British rock world for many years (see credits for member details). Clapton himself and Glyn Johns negotiated the appearance. It was surprising that Clapton, who had been out of luck since the incident in 1965 (Page provided the sound source for a private session with Clapton to Immediate Records without permission), invited Page. Beck and Winwood immediately agreed. In addition, Rod Stewart who heard this story volunteered to appear, but Clapton who was angry at Rod’s actions that focused on his solo activities at the end of Faces and did not care about the band at all There was also an episode in which he declined the offer. The concert that brought the members together was held on September 20, 1983 at the Royal Albert Hall in London, with the first part being Clapton’s set, the second part being Winwood’s set, and the third part being Beck’s set. , The fourth part is a set of Page, and the Angkor is a set by all-stars. Ronnie Lane, who was still able to walk at that time, also appeared in Angkor and sang. The performers who realized such a miracle concert are also comrades who have survived the turbulent era of rock, and since they were old friends, everyone enjoyed the stage on the day. And out of nobody, a voice was heard from inside the performers, “I want to continue this more.” Producer Glyn Johns immediately contacted American promoter Bill Graham. Graham instantly booked halls in Dallas, San Francisco, L.A., and New York for a total of nine concerts. This was called “A.R.M.S. US TOUR” for the performance in London. Among them, this work is the performance on the day when no sound source came out and the bootleg was not released so far. Let’s look back on the entire A.R.M.S. related concert schedule here. ● A.R.M.S. ・ September 20: Royal Albert Hall, London (1 performance) ・ November 28th and 29th: Dallas, Reunion Arena (2 performances) ・ December 1, 2 and 3: San Francisco, Cow Palace (3 performances) ・ December 5th and 6th: Los Angeles, The Forum (2 performances) ← ★ Coco ★ ・ December 8th and 9th: Madison Square Garden, New York (2 performances) [The complete version of the miracle concert, which has different members and set lists from the performance in London, and includes many parts that cannot be heard even in official works] Since this concert in London was an epoch-like event in rock history, it was officially released on VHS video and laserdisc at that time. However, due to the problem of recording time in the software, there was a background that it was released as a digest version with only the highlight part edited. It has been reissued on DVD since then, but the content hasn’t changed since it was first released. Finally, in 2019, the release of the broadcast sound source was lifted, and the concert was made into a CD, but although the number of songs recorded was increased compared to the video work, it was not a complete recording version. On the other hand, in “A.R.M.S. US TOUR”, Joe Cocker participated instead of Steve Winwood who participated in the London performance due to inconvenience, and Clapton and the house band acted as the back. As a result, Cocker’s set naturally became his repertoire, which was different from the London performance. Another thing that was different from the London performance was Stairway To Heaven in Jimmy Page’s set. At the end of the song, Clapton and Beck appeared on the stage when Page rushed into the solo, and they both took the solo from Page. American rock fans were delighted with this surprising production. And the encore also changed to a form in which Cocker’s biggest hit song With A Little Help From My Friends was played by an all-star. In other words, the biggest merit of this work is that you can listen to many songs that you cannot listen to in the official work. And the sound quality is super high quality, which is not an exaggeration to say that it is the representative quality of mirrored tape. Since the start of recording was delayed, the opening number is faded in from the song part, but it should not be a big problem in front of this high sound quality. After all, in Lay Down Sally, the sound is so clear and solid that you can even tell that the drummer has switched to brushwork. Because it is an original cassette, there is no need to process it, and the texture and balance are extremely natural (the only thing we adjusted in our shop was to raise the sound pressure a little). I would like you to listen to this sound from the speakers at a loud volume. Then you will be able to experience the feeling of going to see the “A.R.M.S. US TOUR” L.A. performance. ● Songs that cannot be heard in official works (comparison with official CDs) This work contains many songs that cannot be heard on the broadcast sound source CD of the London performance released last year. Eric Clapton’s set, Jeff Beck’s set, Jimmy Page’s set, and the all-star encore have all been released on the London CD, but Joe Cocker’s set on behalf of Winwood It’s natural that you can’t hear it. Songs have been swapped or added to the Clapton, Beck, and Page sets (the Beck set was attended by former Mahavishnu Orchestra Jan Hammer). <Clapton set> ・ Sad Sad Day <Joe Cocker’s set> ・ Don’t Talk To Me ・ Watching The River Flow ・ Worried Life Blues ・ You Are So Beautiful ・ Seven Days ・ Feelin’Alright <Beck set> ・ Definitely Maybe ・ Blue Wind ・ People Get Ready ・ Going Down <Page set> ・ Boogie Mama <Angkor> ・ With A Little Help From My Friends ・ April Fool So many numbers weren’t on the official CD. It can even be said that “A.R.M.S. US TOUR” was different from the London performance. Of course, as in London, you can listen to the individual sets of the three major guitarists who are difficult to attach and the scene of the three-person co-starring that rock fans dreamed of. Clapton is on stage similar to London, showing off a bluesy play. After that, it featured Joe Cocker, who officially co-starred with Clapton for the first time (strictly speaking, Cocker jumped into Clapton’s L.A. performance in 1975 and hit the tambourine). In this set, Clapton remains as it is, and we are fully supporting it. Listen to Cocker’s soulful enthusiasm singing with Clapton playing the guitar in the background. Jeff Beck at the time established his own fusion music. They play sharply and wildly with the members of the album “THERE AND BACK” as the background, but unlike London, fans are happy to see the numbers from the Jeff Beck Group era. Vocal is Andy Fairweather Low). He was willing to take part in Clapton’s call for the following Page set, which Beck’s backing band remained and supported, but Page at the time fell into drug addiction from the shock of losing Bonzo and disbanding ZEP. Due to the influence, my fingers did not move properly. Page, who had just released the soundtrack solo album “DEATH WISH II” for a comeback, will play ZEP’s masterpiece “I’ll Build a Staircase to Heaven” as an instrument, in addition to the numbers from that album, although it is not in the main tone. I’m making highlights (as mentioned above)

オーディエンス録音の概念を変革した伝説のテーパー、マイク・ミラード氏の秘蔵ライブ音源をJEMSがリリースする「The Lost and Found Mike the MICrophone Tapes Series」の、2020年最後となったVolume 65は、何とこれまで一切テープトレーダー間にも流通せず、ブートレグにもなっていなかった1983年12月6日、オールスターによるA.R.M.S.のL.A.フォーラム公演でした!もちろんファーストジェネレーションのマスターで、当店スタッフも驚愕する超高音質でした!JEMSは年の最後まで、このとんでもない宝物を温存していたわけです。
A.R.M.S.とは、「Action Research into Multple Sclerosis」の頭文字を取ったもので、直訳すれば「多発性硬化症への治療対策調査行動」となります。多発性硬化症は不治の病と言われ、時間の経過とともに身体じゅうの筋肉が硬化していき、終には不随意筋である心臓が止まり死に至ります。原因不明と言われ、遺伝体質にも関係なく突発的に発症する難病です。77年にこの病を発症した元フェイセズのベーシスト、ロニー・レインを救うため、この病気の治療研究機関への援助資金調達のためにロニーに所縁のあるミュージシャンたちが集まってコンサートを開き、その収益をすべて寄付したコンサートだったのです。
コンサートの企画開催に際しては、ロニー・レインの奥さんがロニーの親友ミュージシャンであるザ・フーのピート・タウンゼンドに援助を求めました。ところがこの時期のピートは、バンドの存続危機、家庭崩壊・離婚の危機に直面しており、そのストレスから逃れるためアルコールとドラッグの中毒に陥っているという状況でした。そのためピートはこの大役をロニーとの共通の友人でもあるエリック・クラプトンに振るべく話を持ちかけました。ロニーの身を案じたクラプトンがそれを快諾し、プロデューサーのグリン・ジョンズ(クラプトンのアルバム「SLOWHAND」や「BACKLESS」、ザ・フーの「WHO’S NEXT」やビートルズの「LET IT BE」の初期バージョンをプロデュースしたイギリス人)の協力を得てオーガナイズしたのがこのコンサートだったというわけです。
そうこうしてメンバーが結集したコンサートは1983年9月20日、ロンドンのロイヤル・アルバート・ホールで行なわれ、第一部がクラプトンのセット、第二部がウィンウッドのセット、第三部がベックのセット、第四部がペイジのセット、そしてアンコールがオールスターによるセットという五部構成とされました。当時はまだ歩行が可能だったロニー・レインもアンコールで登場し、歌いました。そんな奇跡のコンサートを実現させた出演者たちは、ロックの激動時代を切磋琢磨して生き抜いてきた同志でもあり、旧知の仲であったため、当日のステージを全員が楽しんだそうです。そして誰からともなく、「もっとこれを続けたい」という声が出演者内部から発せられました。プロデューサーのグリン・ジョンズはすぐさまアメリカのプロモーターの重鎮ビル・グラハムに連絡を取りました。グラハムは即座にダラス、サンフランシスコ、L.A.、ニューヨークのホールをブッキングし、計9回のコンサートを実現したのです。これはロンドンでの公演に対して、「A.R.M.S. US TOUR」と呼ばれました。その中にあって、これまで一切の音源が出て来ず、ブートレグもリリースされなかった日の公演が本作なのです。

・12月5日、6日:ロサンゼルス、ザ・フォーラム(2公演) ←★ココ★

このロンドンでのコンサートはロック史におけるエポック的なイベントであったことから、当時オフィシャルではVHSビデオとレーザーディスクでリリースされました。しかしソフトへの収録時間の問題から、ハイライト部分のみを編集したダイジェスト版としてリリースされたという背景がありました。それ以降DVDでリイシューされましたが、収録内容は初回のリリース時と変わっていません。ようやく2019年になって放送音源のリリース解禁により、このコンサートのCD化も実現しましたが、映像作品よりも収録曲は増えたものの、完全収録版というわけではありませんでした。一方、「A.R.M.S. US TOUR」ではロンドン公演に参加したスティーヴ・ウィンウッドが都合がつかず不参加となった代わりにジョー・コッカーが参加し、クラプトンとハウスバンドがバックを務めました。それにより当然コッカーのセットは彼のレパートリーとなり、ロンドン公演とは趣きを異にしました。さらにロンドン公演と趣向が異なったのは、ジミー・ペイジのセット中のStairway To Heavenでした。この曲の終盤でペイジがソロに突入するタイミングでクラプトンとベックがステージに登場し、ペイジからソロを引き継ぐ形で二人もソロを取ったのです。この意外な演出にアメリカのロックファンは狂喜しました。そしてアンコールも、コッカー最大のヒット曲With A Little Help From My Friendsがオールスターにより演奏されるという形に変わりました。つまり本作では、オフィシャル作品では聴くことのできない楽曲を多く聴けるということが最大のメリットなのです。そして音質の方は、ミラードテープを代表するクオリティと言っても過言ではない超高音質となっています。録音開始が遅れたため、オープニングナンバーは歌部分からのフェイドインになっていますが、この高音質の前ではさしたる問題ではないでしょう。何せLay Down Sallyではドラマーがブラシワークに切り替えたことさえ判るほど、くっきりしっかり捉えられたサウンドなのですから。オリジナル・カセットだからこそ加工する必要もなく、質感もバランスも極めてナチュラルなのです(当店で調整したのは、音圧を少し上げたことだけでした)。このサウンドは是非スピーカーから大音量で聴いていただきたいと思います。そうすれば正に「A.R.M.S. US TOUR」L.A.公演を観に行った感覚を味わうことができるでしょう。

・Sad Sad Day

・Don’t Talk To Me
・Watching The River Flow
・Worried Life Blues
・You Are So Beautiful
・Seven Days
・Feelin’ Alright

・Definitely Maybe
・Blue Wind
・People Get Ready
・Going Down

・Boogie Mama

・With A Little Help From My Friends
・April Fool

これほど多くのナンバーがオフィシャルCDには未収録だったのです。「A.R.M.S. US TOUR」はロンドン公演とは別物だったとさえ言えるでしょう。
もちろんロンドン同様、甲乙付け難い三大ギタリストの個々のセットとロックファンが夢見た三人共演のシーンが聴きものです。クラプトンはロンドン同様のステージ進行で、ブルージーなプレイを披露しています。その後は、クラプトンとは正式には初共演となったジョー・コッカーをフィーチャー(厳密には75年のクラプトンのL.A.公演にコッカーが飛入りし、タンバリンを叩いたということがありましたが)。このセットではクラプトンがそのまま残り、全力でサポートしています。クラプトンが弾くギターをバックに歌うコッカーのソウルフルな熱唱が聴きものです。当時のジェフ・ベックは独自のフュージョン・ミュージックを確立した時代。アルバム「THERE AND BACK」のメンバーをバックにシャープかつワイルドなプレイを披露していますが、ロンドンとは異なり、ジェフ・ベック・グループ時代のナンバーも披露しているのがファンには嬉しいところです(ボーカルはアンディ・フェアウェザー・ロウが務めています)。ベックのバックバンドがそのまま残りサポートした、続くペイジのセットについては、クラプトンからの声掛けに喜んで参加した彼でしたが、当時のペイジはボンゾを失いZEPを解散させたショックからドラッグ中毒に陥り、その影響から指がまともに動かない状態でした。再起を賭けてサントラのソロアルバム「DEATHWISH Ⅱ」をリリースしたばかりだったペイジは、本調子ではないものの、そのアルバムからのナンバーに加え、ZEPの名曲「天国への階段」をインストで演奏するというハイライトを作っています(前述したよう

Disc 1 (79:58)
1. Everybody Oughta Make A Change
2. Lay Down Sally
3. Wonderful Tonight
4. Rita Mae
5. Sad Sad Day
6. Have You Ever Loved A Woman?
7. Ramblin’ On My Mind
8. Cocaine

9. Don’t Talk To Me
10. Watching The River Flow
11. Worried Life Blues
12. You Are So Beautiful
13. Seven Days
14. Feelin’ Alright

15. Star Cycle
16. The Pump
17. Definitely Maybe
18. Blue Wind

Disc 2 (72:35)
1. People Get Ready
2. Going Down

3. Prelude
4. Who’s To Blame
5. City Sirens
6. Boogie Mama
7. Midnight Moonlight
8. Stairway To Heaven

9. Layla
10. With A Little Help From My Friends
11. April Fool (Ronnie Lane)
12. Goodnight Irene (Ronnie Lane)

Eric Clapton – guitar, vocals
Jeff Beck – guitar
Jimmy Page – guitar
Andy Fairweather Low – guitar, vocals
Joe Cocker – vocals
Paul Rodgers – vocals
Chris Stainton – keyboards
James Hooker – keyboards
Jan Hammer – keyboards
Bill Wyman – bass
Fernando Saunders – bass
Charlie Watts – drums
Kenney Jones – drums
Simon Phillips – drums
Ray Cooper – percussion




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