Jimmy Page / LA Forum 1988 Mike Millard First Generation Tapes / 2CD

Jimmy Page / La Forum 1988: Mike Millard First Generation Tapes / 2CD / Wardour

The Forum, Inglewood, CA, USA 7th October 1988

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1988 album “OUTRIDER” tour, which was Jimmy Page’s only solo live until now. He himself seems to be proud of the tour and the album, even posting on Jimmy’s Facebook this month that “the tour started in September 1988.” In fact, the US tour was a great success and excitement, and it is undeniable that it is no longer looked back on in general, but it is also a time when enthusiasts appreciate it.
The great thing about this tour is that it’s a record of when Jimmy first “worried” after the dissolution of ZEP. Even at that time, it is undeniable that the activities of The Farm were during the rehabilitation period as Jimmy’s performer and artist, and ZEP reunion at Live Aid and Atlantic 40th Anniversary event may be counted in that category. ..
In that respect, the album “OUTRIDER” unfortunately demonstrates Jimmy’s outstanding producing ability, and was a hidden masterpiece in which his unique riff-centered songs and the elements of Eighties Rock at that time were well intertwined. The band guitarist tried to make a solo album … It was a wonderful rock album that was completely different from the dimension.

Jimmy’s ability to produce has been fully demonstrated in the live tour after the album was released, and instead of being a guitarist’s solo tour, Jimmy Page’s new band’s excellent live tour that appeared in 1988. It boasts a high degree of perfection as a show. Basically, it was a song selection that looked back on my career, but as for the ZEP number that is the centerpiece, I have introduced songs that the band has never played (= “Custard Pie”), etc. The composition that clearly conveys Jimmy’s motivation during his solo tour was also wonderful. And with Jason Bonham playing the drums, the ZEP number was even more convincing.
Regarding this tour, there are two major classics, a radio broadcast with “OHIO 1988” as the definitive edition, and a one-camera pro shot video in Arizona shot by MTV for news, but both are from the complete recording of the show. There was a problem that it was far from. Even so, there was a drawback that the angle was monotonous because the video in Arizona was not premised on full live recording, and shooting was stopped in some places and cuts were made. And above all, the fact that the great success of the American tour and the excitement of the audience did not come through made me feel awkward.
Rather, if you are a maniac, you ran to audience recording to experience the tremendous excitement that was on this tour. Audience albums were released from this tour in detail in the 90’s, but it is a fact that there were no items with good sound for the 1988’s. The masterpiece “PRISON BLUES” has overcome such a situation in the 21st century. This captured the pattern of the short-term British tour that took place after the US tour, but it can be said that it is a masterpiece that revealed the time when it was wrapped in a veil after the US tour with the best sound quality. Then. When that happens, enthusiasts want to hear the best audience on the US tour. Last week, JEMS revealed that Mike Millard, who loved ZEP, also recorded this tour as if to respond to such enthusiasts’ thoughts.

He recorded a show at the LA Forum, which is also at his knees. Speaking of LA forums on the “OUTRIDER” tour, do you remember that the nostalgic analog boot “THE RETURN OF THE LED GREMLIN” was released for old enthusiasts? The LP released by Ken Douglas, who is familiar with that TMOQ, has good sound quality, and above all, it was evaluated by enthusiasts as a masterpiece that captured his appearance with exceptional excitement at the LA Forum, which Jimmy loved to play.
However, there is Mike Millard. It captured the famous performance of 1988 with a quality that slightly exceeded the audience recording used for the nostalgic LP, which had a fairly high quality sound quality at that time. However, unfortunately, when the volume of the microphone was adjusted immediately after the performance of Mirrored on that day, one of the connections became unstable, and the recording continued with problems as stereo recording. Because of that, it was a sound source that was not played among traders at the time of his life, but he unearthed a tape buried by JEMS research since the beginning of this year.
When it was released, it was uploaded in an almost monaural state, making use of the intact channel with no connection trouble. This would be a restore that was possible only with current technology.

And, perhaps because of the injuries, the monaural skeletal sound also provided a realistic record of the day’s booming Jimmy and the lively forum audience. Regarding the part that was missing when adjusting the microphone at the beginning mentioned earlier, I patched the sound source used for the example “THE RETURN OF THE LED GREMLIN”, but by listening to that, the mirrored sound source was turned on. You will be reminded of the sound image.
After all, the audience on this day was enthusiastic in front of Jimmy, who was the first solo artist to come to the forum. Even so, I was delighted to see the phrases “Black Mountain Side” and “Kashmir” appearing in the instrumental “Midnight Moonlight”. I often listen to the performance. Still, it is Elai that this instrument is compactly organized without playing it on a long scale like in the ZEP era. Jimmy was looking at the 80’s.
On the other hand, I was also hit by a rare happening, and at the end of “Writes Of Winter” the electric strings were cut, so I stopped playing “Tear Down The Walls” which should be played continuously. .. Or even if Jimmy’s guitar didn’t sound after 6 minutes of “In My Time Of Dying,” which is attractive to be played with the same keys as the album version, he returned to the song without rotting. It was.
Certainly Jimmy’s play is rough and hidden, and I’m about to make a mistake in the composition of “Wasting My Time” on this day as well. However, from the literally “lack of vividness” play that had been going on since the ZEP last tour, he was playing lively, and the phrase was also lively. This is why the “OUTRIDER” tour is loved by enthusiasts. Although it is a unique monaural audience for Mirrored, it is very powerful when it is sounded from a speaker with a roaring sound. Jimmy’s appearance regained its brilliance at the LA Forum!

1988年アルバム「OUTRIDER」ツアー、これはジミー・ペイジの唯一のソロ・ライブだった。彼自身もツアーとアルバムを誇りに思っているようで、今月はジミーのFacebookに「ツアーは1988年9月に始まった」と投稿しています。実際、米国ツアーは大成功で興奮し、一般に振り返られなくなったことは否定できませんが、愛好家が高く評価する時期でもあります。
このツアーの素晴らしいところは、ZEPの解散後、ジミーが最初に「心配した」ときの記録だということです。その時でさえ、ジミーのパフォーマー兼アーティストとしてのリハビリ期間中にザファームの活動があったことは否定できず、ライブエイドと大西洋40周年記念イベントでのZEPの再会はそのカテゴリに数えられるかもしれません。 ..
その点、アルバム「OUTRIDER」は、残念ながらジミーの卓越した制作力を発揮し、リフ中心のユニークな曲と当時のエイティーズロックの要素がうまく絡み合った隠れた名作でした。バンドのギタリストがソロアルバムを作ろうとしたのですが…。

ジミーのプロデュース能力はアルバムのリリース後のライブツアーで十分に実証されており、ギタリストのソロツアーではなく、1988年に登場したジミーペイジの新しいバンドの優れたライブツアーです。ショーとしての完成度は高いです。基本的には自分のキャリアを振り返る選曲でしたが、目玉であるZEP番号はバンドがこれまでに演奏したことのない曲（＝「カスタードパイ」）などを紹介しております。ソロツアー中のジミーのモチベーションも素晴らしかったです。そして、ジェイソン・ボナムがドラムを演奏したことで、ZEP番号はさらに説得力がありました。
今回のツアーでは、「OHIO 1988」を決定版とするラジオ放送と、MTVがニュースのためにアリゾナで撮影したワンカメラプロショットビデオの2つの主要なクラシックがありますが、どちらも番組の完全な録音からのものです。遠いという問題がありました。それでも、アリゾナでの動画はフルライブ収録を前提としておらず、所々で撮影が中止されカットされたため、角度が単調であるという欠点がありました。そして何よりも、アメリカンツアーの大成功と観客の興奮が伝わらなかったのが気まずかったです。
むしろ、あなたがマニアであるならば、あなたはこのツアーにあった途方もない興奮を体験するために聴衆のレコーディングに走りました。このツアーから90年代にオーディエンスアルバムが詳細にリリースされましたが、1988年代には音のいいアイテムがなかったのも事実です。名作「PRISON BLUES」は、21世紀のこのような状況を乗り越えました。これはアメリカツアーの後に行われた短期イギリスツアーの模様を捉えたものですが、アメリカツアー後にベールに包まれた時の音質が最高だった時期を明かした傑作と言えます。その後。それが起こるとき、愛好家は米国ツアーで最高の聴衆を聞きたいです。先週、JEMSは、ZEPを愛したマイクミラードもこのような熱狂的なファンの考えに対応するかのようにこのツアーを記録したことを明らかにしました。

彼はまた彼の膝にあるLAフォーラムでショーを録音しました。 「OUTRIDER」ツアーのLAフォーラムといえば、懐かしいアナログブーツ「THE RETURN OF THE LED GREMLIN」が古いファンのためにリリースされたことを覚えていますか？あのTMOQに詳しいケン・ダグラスがリリースしたLPは音質が良く、何よりもジミーが大好きだったLAフォーラムで並外れた興奮で姿を捉えた傑作として愛好家から評価された。
しかし、マイク・ミラードがいます。それは1988年の有名なパフォーマンスを捕らえ、その当時のノスタルジックなLPに使用されていたオーディエンスのレコーディングをわずかに上回り、当時の音質はかなり高かった。しかし、残念ながら当日のMirroredの演奏直後にマイクの音量を調整すると、一方の接続が不安定になり、ステレオ録音として問題あり録音が続きました。そのため、当時は商人の間で演奏されていなかった音源でしたが、今年の初めからJEMSの研究で埋められたテープを発掘しました。
発売時にはほぼモノラル状態でアップロードされており、接続トラブルのない無傷のチャンネルを生かしています。これは、現在のテクノロジでのみ可能だった復元です。

そして、おそらく怪我のために、モノラルの骨格音は、その日の急成長しているジミーと活気あるフォーラムの聴衆の現実的な記録も提供しました。冒頭のマイク調整時に欠けていた部分について、「THE RETURN OF THE LED GREMLIN」の例で使用している音源にパッチを当てましたが、それを聞くことでミラー音源がオンになりました。音像を思い出します。
結局、この日の観客は目の前で熱狂的でした

Disc 1 (46:55)
1. Intro
2. Who’s To Blame ★ 0:23 –0 :30 / 0:39 –0 :43 Same day sound source supplement
3. Prelude
4. Over The Hills And Far Away
5. Liquid Mercury
6. Wanna Make Love
7. Band Introductions
8. Writes Of Winter
9. Tear Down The Walls
10. Emerald Eyes
11. Midnight Moonlight incl. Black Mountain Side, Kashmir

Disc 2 (78:32)
1. In My Time Of Dying
2. City Sirens
3. Drum Solo
4. Someone To Love
5. Prison Blues
6. The Chase
7. Bow Solo / Dazed And Confused
8. Wasting My Time
9. Blues Anthem
10. Custard Pie
11. Train Kept A-Rollin’12
. Stairway To Heaven

Jimmy Page –Guitar
John Miles –Vocal, Keyboards
Jason Bonham
–Drums Durban Laverde –Bass

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