GiGinJapan Artwork of Japanese CDs (mostly) Moody Blues / Costa Mesa 1990: Mike Millard Master Tapes / 2CDR / Amity
Pacific Amphitheatre, Costa Mesa, CA, USA 30th August 1990
Play sample :
THE MOODY BLUES in the Patrick Moraz era, which was successful in the 1980s while shifting to pop sound. Introducing a new masterpiece that records the end point by an absolute master.
It is “August 30, 1990 Costa Mesa performance” that is imbued with such a work. It is a transcendental audience recording by the absolute master Mike Millard. In terms of studio work, it was in the “SUR LA MER” era, but it has been more than two years since the album was released. First of all, let’s look back on the schedule at that time in order to imagine the situation in that area.
● 1988
“Released” SUR LA MER “on June 6”
・ July 27-September 9: North America # 1 (41 performances)
・ September 30: Performance on Ibiza Island
・ October 19th-November 12th: North America # 2 (22 performances)
● 1989
・ January 27 + 28: Stateline (2 performances)
・ March 3-11: North America # 3 (5 performances)
・ July 18-30: North America # 4 (16 performances)
“November 21,” GREATEST HITS “released”
● 1990
・ June 28: Appearance at Midtfyns Festival
・ July 13th-September 8th: North America # 5 (42 performances) ← ★ Coco ★
“October” KEYS OF THE KINGDOM “production started”
This is THE MOODY BLUES from 1988 to 1990. Although there were very few event appearances in Europe, you can see that the activities were almost exclusively in North America. The Costa Mesa performance of this work is the final edition. It was the 35th performance of “North America # 5”. After the tour, we started producing “KEYS OF THE KINGDOM”, but there was a feud between the band and Moratsu. The album is credited as a support, not an official member, and withdraws as it is. As a result, “North America # 5” was the last tour of the Morats era. Also, this “North America # 5” is not a “SUR LA MER Tour”, but a promotion tour “MCMXC Tour” of the best compilation album “GREATEST HITS”. It was a live performance of the total settlement of accounts in the Morats era, both in name and reality.
This work, which recorded such a scene, is a superb recording that is exceptional even in the mirrored collection. Anyway, it is very thick and has no sense of distance, and is super beautiful. Millard was inactive from 1983 to 1988, but this work is in the resumption period. The accuracy that fully brings out the performance of Nakamichi has not changed even a little from the past, and it leads to the improvement of quality by the evolution of the sound output on the band side. However, probably because it was not completely compatible with the 80’s sound, the bass was caught a little heavy in the original net sound. Therefore, the balance is adjusted in this work. While maintaining the beauty of the original sound, it has been refined by mastering to enhance the perfection as a musical work.
The highest peak update sound is drawn in a full show that summarizes the heyday of the 1960s and 1980s. Several official live performances during the Moratz era have been unearthed, but the closest one is the 1986 Cleveland performance recorded in the box “POLYDOR YEARS 1986-1992”. Let’s organize the set while comparing here.
● 60’s / 70’s (9 songs)
・ Days of Future Passed: Tuesday Afternoon / Nights In White Satin
・ In Search of the Lost Code: Legend Of A Mind / Ride My See-Saw (★)
・ Dream: Lovely To See You (★)
・ Question of Balance: Question
・ Dome: The Story In Your Eyes
・ Seventh Sojourn: Isn’t Life Strange / I’m Just A Singer (In A Rock And Roll Band)
● 80’s (6 songs)
・ Amami Mei: Gemini Dream / The Voice
・ The Other Side Of Life: Rock’n’Roll Over You / Your Wildest Dreams / The Other Side Of Life
・ Sur La Mer: I Know You’re Out There Somewhere (★)
* Note: The “★” mark is a song that could not be heard even in the Cleveland performance of the official box “POLYDOR YEARS 1986-1992”.
…… And it looks like this. A wide selection of representative songs from each album without setting a core album. It’s a live show with a wide variety of summaries. In the Morats era, besides Cleveland in 1986, there are official takes such as Seattle performance in 1979, Inglewood performance in 1983, Wembley performance in 1974, but “Lovely To See You” and “I Know You’re Out There Somewhere”. “Is not recorded in any official live. Also, after leaving Moratz, the official work “LIVE AT THE MONTREUX 1991” that was unearthed last year will be the latest work, but “The Voice” “Rock’n’Roll Over You” “I Know You’re Out There Somewhere” The three songs are a delicious repertoire that you can’t even hear there.
Although it is the era of morals where official excavation has progressed in recent years, the general “MCMXC Tour” is still undeveloped. This work is a new masterpiece that allows you to fully experience the ultimate scene with the official barefoot mirrored sound. Originally, it is a live album at the top of a milestone that is not strange even if it is made into a press. Please enjoy this product with the highest quality.
★ A transcendental audience recording of “August 30, 1990 Costa Mesa performance”. Even in the Absolute Master Mirrored Collection, it is an exceptionally superb recording, and it is super thick and super beautiful without a sense of distance. 1990 is the period when Millard’s activities resumed, but the accuracy that brought out the full performance of Nakamichi is the same as in the past, and the quality is improved by the evolution of the sound output on the band side. You can experience the full show, which is the total settlement of the Morats era, such as “Lovely To See You” and “I Know You’re Out There Somewhere” that you can not hear in the official live work, with official barefoot quality.
★ Mirrored’s masterpiece? Miraculous ultra-high quality recording! !! !!
Amity 668
