Neil Young / Costa Mesa 1989 Mike Millard First Generation Tapes / 2CD

Neil Young / Costa Mesa 1989Mike Millard First Generation Tapes / 2CD /ZION

Live at Pacific Amphitheatre, Costa Mesa, CA, USA 18th August 1989

Play sample :

Click Image To Enlarge

The excavation of Mike Millard’s audience recording tape by JEMS has only been exciting every week, but the sound source released this time has also greatly surprised maniacs all over the world. That is the sound source that captured Neil Young’s show at Costa Mesa on August 18, 1989. He seems to be an artist far from the Millard’s audience recording, and I’m really surprised that there is such a sound source and it pops up a little. What’s more, the fact that he was recording a stage in 1989, not in the 1970s, is surprising.
In this way, the appearance of the sound source just made the maniacs all over the world wonder, but the recording was that the solo tour of 1989 (after the performance in Japan) and Millard’s work compatibility was outstanding. Is also proved. Because in 1989 solo tour, instead of sitting on a chair and showing an acoustic performance as before, Neil used the wireless system that he had been using before, playing while walking through the stage An aggressive thing to talk about. In addition to that, the volume of the sound emitted to the venue was so loud that it sounded as if it were called acoustic rock.

The work of Millard who captured this loud acoustic sound is also amazing. The quality of the “miracle is default” level, which is exceptional for audience recording, is still alive this time, and in combination with the volume of the sound emitted from the venue for the above reasons, the sound image of the powerful force is just like a “sound board”. The singing voice of Neil and the volume of Akogi are extremely thick. In addition, thanks to the high volume acoustic and the style of singing while walking on the stage, it is okay even if the audience does not listen silently, and there is also a lively and detailed presence that can be heard from the left and right of the performance captured with a really on balance. Excellence.
However, it was laughing that there was an audience who screamed “T-Bone” persistently when Neil said “What is your request?”… It’s a song that has never been played until this point. Not only that, let alone the acoustic version! (Laughs) It’s a joke, but it also conveys the unique presence of an enthusiastic atmosphere despite the acoustic show that is unique to the 1989 solo tour.
Regarding this tour, even though it is officially blessed with sound sources such as video version “FREEDOM” or radio broadcast that summarizes performances in various places, I can not convey the excitement unique to that enthusiastic acoustic show unexpectedly. .. Especially in the video version “FREEDOM”, such an atmosphere was weak. In this respect as well, it can be said that Millard’s audience recording really showed its power.

Also, from this tour, the famous board “BARS TOOL BLUES ’89” that released the show in Saratoga Springs about two weeks later with the highest sound quality has been released, but compared to that, the atmosphere of the live is completely different Neil. Apparently. Saratoga included two extremely valuable acoustic songs, such as “Winterlong” and the title “Barstool Blues”, while Costa Mesa’s 1989 solo tour So to speak, a fixed set list. Still, this year was a tour that fully pushed Neil’s aggressive attitude of playing the powerful new song “Rockin’ In The Free World” twice at the beginning and end of the show, and for the audience it was a set of Costa Mesa. I think the list was a complete set of major songs, easy to understand, and fun. That’s why the enthusiasm was outstanding.
In response to such a reaction, the mirror recording of “miracle is the default” quality is what captures the appearance that Neil plays as aggressively as it seems to be playing. First of all, I would like to say that you have plenty of playing power with the two songs at the beginning including “Rockin’In~”. The audience is overwhelmed by the stroke as if they were playing electric. In addition, it is a famous sight of 1989 that Neil hits the body of Akogi to take rhythm when playing harmonica in “Crime In The City”, but the sound of hitting it is really vivid. If I listen to it with headphones, I have goose bumps.
And “Ohio” is performed in a form dedicated to the students of the Tiananmen Incident who were still fresh in their memory, and the pattern of chanting the second “Rock in’In~” sung as the ending of the main story to the audience is also alive. This is also really real thanks to the mirrored quality, and it’s really moving to see the audience singing it with new songs that have not been released at that time. Later, at the beginning of the album “FREEDOM”, the take was recorded at Jones Beach in June, which is famous for the image, but unlike this, the performance and chorus are not edited here, you can enjoy it as the actual performance itself ..
It would be natural to release a limited press CD with such quality, but there was no need to add equalization because of the high sound quality. Only the instability of the pitch at the beginning of the live was adjusted, but this has evolved to a state where the exceptional quality is the strongest. Nevertheless, you can fully enjoy the awesomeness of this tour, which is aggressive, aggressive live and full selection of songs. This is an item that can be called the definitive edition of the 1989 solo tour without any extra price. Mirrored was amazing again this time!



またこのツアーからは約二週間後のサラトガ・スプリングスでのショーをこれまた極上音質で捉えた名盤「BARSTOOL BLUES ‘89」がリリースされていますが、それと比べるとライブの雰囲気がまったく違うところがニールらしい。サラトガの方では「Winterlong」にタイトルにもなった「Barstool Blues」といったアコースティック・バージョンでの演奏が極めて貴重な二曲が含まれていたのに対し、今回のコスタ・メサは89年ソロ・ツアーにおける、いわば定型セットリスト。それでいてこの年は強力な新曲「Rockin’In The Free World」をショーの始めと終わりで二回演奏するというニールの攻めの姿勢を全面的に押し出したツアーでもあり、オーディエンスにとってはコスタ・メサのセットリストの方がメジャーソング揃いとなって分かりやすく、しかも楽しめたのではないでしょうか。それだけに熱狂ぶりも際立っていたという訳です。
そうした反応を前に、ニールが弾き語りとは思えないほどアグレッシブな演奏を聞かせてくれる様子を生々しく捉えてくれているのも「奇跡がデフォ」クオリティのミラード録音。まず何といっても、先の「Rockin’In~」を含む冒頭二曲の力強さにあふれた弾きっぷりといったら。まるでエレキを弾いているかのようなストロークで観客を圧倒します。また「Crime In The City」でニールがハーモニカを吹く際にアコギのボディを叩いてリズムを取るのは89年名物な光景ですが、それを叩く音が実に生々しい。もしヘッドフォンで聞いたら鳥肌が立つレベルかと。

Disc 1 (50:41)
1. My My, Hey Hey (Out Of The Blue)
2. Rockin’ In The Free World
3. Sugar Mountain
4. Helpless
5. Pocahontas
6. Crime In The City
7. This Old House
8. Too Far Gone
9. Roll Another Number For The Road

Disc 2 (36:55)
1. This Note’s For You
2. The Needle And The Damage Done
3. No More
4. After The Gold Rush
5. Heart Of Gold
6. Ohio
7. Rockin’ In The Free World
8. Powderfinger

Neil Young – Vocals, Acoustic Guitar, Piano, Harmonica
Frank Sampedro – Guitar, Mandolin, Vocals
Ben Keith – Dobro, Keyboards, Vocals

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.