Cheap Trick / Long Beach Arena 1977 Mike Millard Master Tapes / 1CD

Cheap Trick / Long Beach Arena 1977 Mike Millard Master Tapes / 1CD / ZODIAC

Long Beach Arena, Long Beach, CA, USA 31st December 1977

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Mike Millard’s original master excavation project, which continues to discharge SOUND masterpieces and masterpieces and has become a symbol of 2020. The latest live album of CHEAP TRICK is now available.
This work was recorded at “December 31, 1977 Long Beach Performance”. It is a transcendental audience recording that captures those who did not know the fate of Nippon Budokan yet and were selling highly acclaimed. Speaking of mirrored recording, its sound quality is the biggest attraction, but this time the show is also amazing. Speaking of 1977, it was the debut year of CHEAP TRICK, and the start dash period when the masterpieces “CHEAP TRICK” and “IN COLOR” were released in quick succession. First, let’s look back at that time and confirm the position of the show.

・ January 6-February 5: North America # 1a (17 performances)
<< February “CHEAP TRICK” release >>
・ February 11-June 5: North America # 1b (70 performances)
・ June 22 -September 15: North America # 2a (53 performances)
<< September “IN COLOR” released >>
-September 21-December 31: North America # 2b (64 performances) ← ★ Coco ★

This is CHEAP TRICK in 1977. It’s a New Year’s Eve show, so it’s natural that it’s the last day, but the highlight is the schedule to get there. He has been touring since the beginning of the year (actually, continuing from the end of 1976), and until the end of the year (to be exact, continuing in 1978), he has a live performance of 204 performances. There was a 16-day gap in June, but other than that, there wasn’t even a week off, and on average, he ran through at a pace of “4 performances a week.” Of course, the interval is not off but a moving day, and “IN COLOR” is also produced …. I’ve dealt with countless tours of many bands, but I don’t remember the murderous journey so far. It’s an overcrowded schedule that makes me wonder why I don’t die often with this.
This work was recorded at such a New Year’s Eve show (by the way, there was another performance on January 2, 1978, two days later), but this is already the best sound with “super”. Every time I introduce a mirrored work, I suffer from a lack of vocabulary, but this time as well, it is no exception. Anyway, the extremely thick and tight core roars, yet the details are delicate to the finest parts. While sucking in the spectacle of the big venue, if the ideal audience noise without the upcoming screaming is also wonderful, the slightest hall noise adds the thickness and dynamism of FM broadcasting. Again, this is a transcendental recording that makes the distinction between formal / informal and audience / soundboard meaningless.
However, this is a general level story. When it comes to the mirrored master standard of “transcendence and natural”, the story is different (a little), and the treble growth is not good although it is very slight (CHEAP TRICK on this day was the undercard of KANSAS, and PA may not have been used up I don’t know). Therefore, this work corrects the balance. Of course, since it is the highest level at the time of the original sound, it is a fine adjustment, but I brought out the highest peak sound that is comparable to listening side by side with the mirrored collection so far.
What is drawn with such a sound is a show where the soul of a genuine live band explodes. In the case of them, “AT BUDOKAN” is the standard, so let’s organize them while comparing them.

・ Cheap Trick (1 song): He’s A Whore (★)
・ Pale Highway (5 songs): Big Eyes / Southern Girls (★) / Downed (★) / Oh Caroline (★) / Clock Strikes Ten
・ Heaven Tonight Trap (2 songs): High Roller (★) / Auf Wiedersehen (★)
・ Others (2 songs): Ain’t That A Shame / Goodnight
* Note: Listen to “★” in “AT BUDOKAN (original version)” No song.

… And it looks like this. This tour has about 40 minutes because it was the undercard of label mate KANSAS, but during that time, the repertoire unique to the early days was concentrated around 5 songs, which is half of “IN COLOR”. As a matter of fact, the above is a comparison with the original version of “AT BUDOKAN”, but we are also showing “He’s A Whore” which can not be heard even in the expanded “THE COMPLETE CONCERT”.
And while the running time is almost the same as “AT BUDOKAN”, its calorie may surpass even historical masterpieces. After all, unlike “AT BUDOKAN”, it is not shortened by editing just for the opening performance. For those who were just starting out, all of their 40-minute time is an opportunity, and the concentration to make the most of it and the energy to run through without losing a moment are wonderful. Also, a little fun scene after the end of “Downed”. Robin starts to introduce the members, but at the top of Lee, he says, “I’m the lead vocalist, Mr. Robin Zander!” This is because the self-introduction itself was not well known in the early days, but if it is interesting to call yourself with “Mr.”, Rick and Tom will pass through and enter the next song with just yourself and Van E. Carlos. Is also funny.

Anyway, it’s super hot. At the beginning of “Auf Wiedersehen”, he screamed “Happy New Year!”, But that New Year made his first visit to Japan and made a break with his masterpiece “AT BUDOKAN”. What is engraved in this work is such a glorious “on the verge”. It is a masterpiece that vacuum-packed the early show of youth explosion that could surpass even the Budokan live by a historical master. The supreme piece that brings out the greatest potential of the finest mirrored master. Please enjoy it with the permanent storage press CD.

この作品は「1977年12月31日ロングビーチ公演」に収録されました。日本武道館の運命をまだ知らず、高い評価を得ている人々を捉えた超越的なオーディエンス録音です。ミラーリングといえば、その音質が最大の魅力ですが、今回のショーもすごいです。 1977年といえば、CHEAP TRICKのデビュー年であり、傑作「CHEAPTRICK」と「INCOLOR」が次々とリリースされたスタートダッシュ期間。まず、その時を振り返り、ショーの位置を確認しましょう。

<< 2月の「CHEAPTRICK」リリース>>
<< 9月「INCOLOR」発売>>

これは1977年のチープ・トリックです。大晦日のショーなので、最終日になるのは当然ですが、ハイライトはそこに着くスケジュールです。彼は年の初めから(実際には1976年の終わりから続く)ツアーを続けており、年末まで(正確には1978年も続く)、204回の公演を行っています。 6月は16日間のギャップがありましたが、それ以外は1週間も休みがなく、平均して「週4回」のペースで駆け抜けました。もちろん、インターバルはずれずに感動的な日で、「IN COLOR」も制作されています…。たくさんのバンドのツアーを数え切れないほど扱ってきましたが、これまでの殺人の旅は覚えていません。混雑しているので、なぜこれで死なないのか不思議に思います。
ただし、これは一般的なレベルの話です。 「超越と自然」のミラーマスタースタンダードとなると、ストーリーが少し異なり、ごくわずかですが高音域の伸びは良くありません(この日のチープ・トリックはカンザスとPAの前座でした)使い果たされていないかもしれませんが)。したがって、この作業はバランスを修正します。もちろん、原音時の最高レベルなので微調整ですが、これまでのミラーリングコレクションと並べて聴いても同等の最高峰の音を出しました。
そんな音で描かれるのは、本物のライブバンドの魂が爆発するショー。それらの場合、「AT BUDOKAN」が標準なので、比較しながら整理していきましょう。

・Heaven Tonight Trap(2曲):ハイローラー(★)/ Auf Wiedersehen(★)
・その他(2曲):Ai n’t That A Shame / Goodnight

…そしてそれはこのように見えます。このツアーはレーベルメイトのカンザスの前座だったので約40分ですが、その間、初期のレパートリーは「INCOLOR」の半分である5曲程度に集中していました。実は、上記はオリジナル版の「AT BUDOKAN」との比較ですが、拡張版「THECOMPLETECONCERT」でも聴こえない「He’saWhore」も展示しています。
走行時間は「ATブドカン」とほぼ同じですが、そのカロリーは歴史的な傑作をも凌駕するかもしれません。結局、「AT BUDOKAN」とは異なり、オープニングパフォーマンスのためだけに編集するだけでは短縮されません。始めたばかりの人にとっては、40分の時間はすべてチャンスであり、それを最大限に活用するための集中力と、一瞬を失うことなく駆け抜けるエネルギーは素晴らしいものです。また、「ダウン」終了後のちょっとした楽しいシーン。ロビンはメンバーを紹介し始めますが、リーのトップで、「私はリードボーカル、ロビン・ザンダーさんです!」と言います。自己紹介自体は初期にはあまり知られていなかったのですが、「ミスター」と呼ぶのが面白ければ、リックとトムが通り過ぎて、自分とヴァン・E・カルロスだけで次の曲に入ります。 。また面白いです。

1. Big Eyes
2. Southern Girls
3. Downed
4. High Roller
5. Ain’t That A Shame
6. Oh Caroline
7. Clock Strikes Ten
8. Auf Wiedersehen
9. He’s A Whore
10. Goodnight

Robin Zander –lead vocals, rhythm guitar
Rick Nielsen –lead guitars, vocals
Tom Petersson –bass, vocals
Bun E. Carlos –drums


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