Mike Millard’s record of Linda Ronstadt’s heyday, “LOS ANGELES 1977 MIKE MILLARD 1ST GEN” at Universal Amphitheater on October 3, 1977, is still a bestseller, but Millard is still open every week・ The archive unearthed the sound source at the same venue two days ago. To tell the story of Linda’s popularity at that time, the Universal Amphitheater had 12 consecutive nights of performances from September to October, recording stages other than October 3 when Millard became Chiakigaku. No wonder, though.
It is a sound source that captured the newly excavated stage on October 1st, but the first 7 songs up to “It Doesn’t Matter Anymore” were not recorded because Millard was not in time for the show’s start. That point will be a flaw in the ball. Thanks to that, the recording started from the beginning of “When Will I Be Loved”, but unlike the 3rd, the performance was recorded suddenly. That’s why when you press the play button, what surprises you is the closeness of the sound image that you can’t help but be surprised at, “Wow, close.” You will be overwhelmed by the powerful sound image that surpasses even the recording of 3 days, which had such a superb sound quality. After all, this time as well, the mirrored quality with “miracle is the default” is fully enjoyed.
Although it is unavoidable that the surrounding audience is fevering because it is the stage at the peak, it is also a big point that this can be recorded in a calmer environment than 3 days. The sound image is close and the surroundings are not so noisy, which is an amazing quality that can not be called a mirror of the ideal audience recording. At the time of this press CD release, the high pitch was carefully adjusted to make it even easier to hear.
Linda was in great shape even on the stage of the day captured by such a finest recording. She has a good reputation for her voice volume, so it’s hard to believe that she’s been singing for more than a week in a row, bursting with her relaxed singing voice and punchy shout. The set list is the same as on the 3rd, but on this day as well, the wonderful singing voice is fully reproduced by Millard’s perfect recording. Her audience is very enthusiastic in front of her, but there are no scenes that can be stressful when listening.
The performance of the backing band that supports her in great shape is perfect and impeccable. The sound pressure of high-level performances by Waddy Wachtel on guitar and Andrew Gold on drums is also tremendous, and the details of their performances are perfect due to the miraculous recording balance of moderate presence and powerful sound image. It is said that it has been captured. While the sound source on the 3rd was the first generation copy, this time there is a big difference as a master tape.
I think that there are many enthusiasts who have decided their minds just because it is a master tape for mirrored recording, but this time it is also a stable high quality recording. The sound was so good that I almost forgot that the first half of the show was not recorded. There is no doubt that you can easily travel back in time to the 1977 Universal Amphitheater if you make a roaring sound.
This time too, it is a masterpiece audience album with “Miracle is the default” fully open. “DEFINITIVE BOSTON 1976”, which boasts a shocking freshness that threatens Millard in the previous “LOS ANGELES 1977 MIKE MILLARD 1ST GEN”, and this time “LOS ANGELES 10.1.1977: MIKE MILLARD MASTER TAPES”, Linda’s three peaks A large sound source is available!
★ Corrected a pitch that is a little over 20% higher than a semitone.
★ The sound pressure was leveled and the whole was raised. (The sound quality did not drop high, so it remains the same