Kinks / Los Angeles 1979 2nd Night Mike Millard First Genertion Tape / 1CDR

Speaking of the legendary taper, Mike Millard’s audience recording of The Kinks, starting with “LOS ANGELES 1978: MIKE MILLARD SECOND GENERATION TAPES”, “HOLLYWOOD PALLADIUM 1981: MIKE MILLARD FIRST GENERATION TAPES” and “L.A. FORUM 1983: MIKE MILLARD FIRST GENERATION TAPES”, etc. It captured the stage of each age when it made a break in the United States.
However, the tour in 1979, when their popularity exploded in the United States, has not been released until now. This year was a hugely successful year for the Kinks, and since then it has evolved into a big presence that has become the norm for arena class venues.
The long-awaited record by Millard has been released from the 79th tour, which is such an important period. At the time of the 1979 US tour, which was accompanied by the album “LOW BUGET”, which can be said to be a breakthrough work in the United States, the schedule was still centered on theaters and concert halls, and even in LA, at the Universal Amphitheater. It is held in the form of a series of performances.

Millard participated in the second day of such a series of performances. Until then, it was a well-known venue for recording the stages of Linda Ronstadt and Bob Dylan, and he naturally secured his good position on this day.
However, ironically, it was here that Millard ended up witnessing the rapid rise in popularity of the Kinks. Because the excitement of the audience around him is tremendous, and although it is natural, it is a big fever that does not care about Millard to record.
Millard, who was always good at capturing the excitement of the surroundings with a perfect balance, seemed to be overwhelmed by the excitement on this particular day. Rarely for his audience recording (laughs), it is said that the noisy presence was recorded with a wonderful balance as usual.
And finally, when the second song “Life On The Road” started, the customer on the left warned me, “If you don’t want to get caught, stop recording.” Certainly, the correct one is the one who is excited about the concert, so it’s hard to say nothing about this.
In addition, Ray Davis and the band are in the middle of their peak, so they are easily performing high-tension performances. Although it seems to be pushed by the excitement of the surroundings, it is expected that it still captures the performance with a solid sound image.
A spectacular word such as an explosive guitar solo that his brother Dave can hear in “(Wish I Could Fly Like) Superman”.

Anyway, right after the start of the live there was a tremendous amount of excitement, and it ended around “Misfits”. It would have been nice if it had settled in this condition, but at that timing, “Low Buget”, which was a big hit, was a big hit again. The feeling of being active with the latest songs is unique to this period.
However, Millard seemed to have reached the limit of his patience here, and when the venue exploded with excitement (naturally) from the deadly “You Really Got Me”, he finally gave up recording as soon as the same song ended. put away.
Yes, this recording was Millard’s first excavation of the Kinks ’79 tour sound source, and it was also a record of a rare day of suffering for him … Therefore, it is an incomplete recording, but with the audience who is feverish. A really interesting document that contrasts Millard’s anguish!