Paul McCartney / LA Forum 1989 Final Night Mike Millard Master Tapes / 2CD

Paul McCartney / LA Forum 1989 Final Night Mike Millard Master Tapes / 2CD / Non Label
Great Western Forum, Inglewood, CA, USA 29th November 1989

Play sample :

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The release of Mike Millard Master by JEMS, which has been a fun weekly experience for enthusiasts, continues to give surprises and delights, such as “Do you have a live like this?” This is probably the case of Paul McCartney’s 1989 LA Forum performance, which was released last week. Speaking of Paul’s sound source recorded by Millard, the last day of the 1976 Wings Over America Tour was caught, this is also famous for the sound source at the LA forum, but he went to the forum in 1989. It was unknown until now.
Speaking of the Paul 89 LA Forum performances that were held about five times for convenience, the performance by Stevie Wonder jumped on “Ebony And Ivory” on November 27th (also “EBONY AND IVORY 1989 based on JEMS sound source” Was released), but Millard recorded it on the 29th, the final day of the LA schedule. On this day, the audience recording with intermediate-level sound quality was quietly released on the CD-R “BRILLIANT FOR US TO BE BACK HERE IN THE U.S. OF A”. It is also a historic excavation that the fact that Millard was recording Paul’s 1989 tour was looped over it.

1989 is the latter half of his recording career, and the quality of this recording is a little different. For a while after the show started, the balance between Paul’s voice and Robbie Macintosh guitar’s sound was large, but apparently this seems that the direction of the mirrored microphone is different, and when “Got To Get You Into My Life” starts microphone Adjust the position of to improve the balance of the performance. This is a sound image with a lot of direct feeling. However, basically, the sound of the guitar in the lobby has a great balance, and what kind of backing does the lobby play in songs where the center of the performance ensemble is the piano, such as “Let It Be” and “Hey Jude”? It can be said that it is a valuable material that conveys things.
On the other hand, the sound source this time also picked up the surrounding excitement considerably, for example, if the customer who saw the appearance of Heimish Stuart playing the intro at the beginning of “We Got Married” “If you do with Paul, Jesse Ed Davis If you think that a tongue-catch Noji (who died in the previous year) would fly, “Good Day Sunshine” has a strange voice, and it has been captured realistically as if it were an American noise.
However, the excitement that is unique to this day is surprisingly fun because you can pick up the excitement around you. For example, in the famous “BACK IN THE USA”, which captures the first day of the LA performance, if you tell that you will play “We Got Married”, which was also a new song at that time, you will hear an “old song, do it”, a hellish American song. As the scene caught, the reaction to the song recorded on the latest album “FLOWERS IN THE DIRT” at that time was very favorable. At first glance, even in “This One”, where the audience might start talking, the first half of the show is listening like a lie, and rather there are even female fans who cheer every time the song “FLOWERS IN~” is recorded (that’s what Beatlemania is like). Screaming like).

The reason why I was able to record the performance and the excitement of the surroundings so much that I was so clear that I was recording from the third row seat from the front at Millard on that day. No wonder the instrument has a strong sense of directness. The 1989 tour features “Twenty Flight Rock” and “Ebony And Ivory,” which is a repertoire that wasn’t played at the next year’s performance in Japan. Because it is captured along with, you can enjoy the fluent play in the interlude of “Twenty Flight Rock” with a fresh balance. On the contrary, in “Coming Up”, you can hear Robbie and Heimish playing guitar. The hyper drumming of Chris Witten that I hear in this song is also nostalgic.
In addition, Paul himself is the last day of the forum performances that have been held five times, and he will be able to listen to his passionate singing everywhere. In addition, “Yesterday” (that is, playing with a normal tuning guitar), which raised the key, which was a rare arrangement only in 1989, is a singing song. In addition, even the momentary mistake and mistake happening that Paul mistakenly played the piano in the finale “Golden Slumbers”, the direct feeling is clearly heard only by the outstanding recording.
For this release, the “BRILLIANT FOR US TO BE BACK HERE IN THE U.S. OF A” sound source has been adopted for the cuts, but only between songs. It is expected that many items will appear every week only in the mirrored sound source, but it is only this title that made full use of another sound source to compensate for the cut part. And with the mirrored tape, the high pitch, which can be said to be the same phenomenon, is adjusted exactly. Unlike the first day and the 27th, the last day of the LA forum, where no definitive sound source ever existed, is renewed with a rainy day mirrored recording!

(Remastered memo)
★The sound of the hall is reproduced strongly due to the characteristics of the playback deck despite the high sound quality, and the bass line is particularly affected, so it has been eased for easier listening.

★The existing “BRILLIANT FOR US TO BE BACK HERE IN THE U.S. OF A” has a fast pitch, so we have corrected it and equalized it in time to make up for it.

★ The pitch has been corrected.

都合五回ほど行われたポール89年LAフォーラム公演といえば、スティービー・ワンダーが飛び入りして「Ebony And Ivory」をデュエットした11月27日公演(これもJEMS音源を元にした「EBONY AND IVORY 1989」という名盤がリリースされていました)が有名ですが、ミラードが録音してくれたのはLA日程のファイナルだった29日。この日は中級レベルな音質のオーディエンス録音が「BRILLIANT FOR US TO BE BACK HERE IN THE U.S. OF A」というCD-Rでひっそりリリースされていた程度。それに輪をかけてミラードがポール89年ツアーを録音してくれていた事実が明らかとなったという歴史的な発掘でもある。

1989年といえば、彼の録音キャリアにおいては後期となるわけです、そんな今回の録音の質感がちょっと変わっている。ショーが始まってしばらくはポールの声とロビー・マッキントッシュのギターの音のバランスが大きいのですが、どうやらこれはミラードのマイクの向きが違っていたらしく「Got To Get You Into My Life」が始まるとマイクの位置を調整し、演奏のバランスがよりよくなります。これがかなりダイレクト感に溢れた、オンな音像。それでも基本的にロビーのギターの音のバランスは大きく、例えば「Let It Be」や「Hey Jude」といった、演奏アンサンブルの中心がピアノとなる曲でロビーがどのようなバッキングを弾いているのか、というのが伝わる貴重な資料だともいえるかと。
その一方で今回の音源は周囲の盛り上がりも相当に拾っており、例えば「We Got Married」の冒頭でイントロを弾くヘイミッシュ・スチュアートの姿を見た客が「ポール、ジェシ・エド・デイヴィスとやればよかったのに!」というとんちんかんな野次(彼は前年に亡くなっていました)が飛ぶかと思えば、「Good Day Sunshine」では奇声が飛んだりと、アメリカらしい騒がしさまでリアルに捉えられている。
ところが周囲の盛り上がりも拾ってくれたからこそ分かる、この日ならではの盛り上がりは意外なほど楽しい。例えばLA公演の初日を捉えた名盤「BACK IN THE U.S.A.」では当時の新曲でもあった「We Got Married」を演奏すると告げると「昔の曲やれよ」的な野次が飛ぶという、いかにもアメリカ的な場面が捉えていた訳ですが、何とこの日は当時の最新アルバム「FLOWERS IN THE DIRT」収録曲に対する反応が非常に好意的。一見すると観客がお喋りを始めてしまいそうな「This One」でもショー前半が嘘のように聞き入っており、むしろ「FLOWERS IN~」収録曲の度に歓声を上げる女性ファンまでいるほど(それこそビートルマニアのような絶叫ぶり)。

なぜこれほどまで演奏も周囲の盛り上がりもクリアネスに長けた状態で録れたのかと言えば、この日のミラードは前から三列目の席から録音していたのですね。どうりで楽器のダイレクト感が強い訳だ。89年ツアーは「Twenty Flight Rock」に先の「Ebony And Ivory」など、翌年の来日公演では演奏されなかったレパートリーを取り上げているのが魅力ですが、何しろロビーのギタープレイが相当なダイレクト感を伴って捉えられているものだから「Twenty Flight Rock」の間奏における流麗なプレイも生々しいバランスで楽しめてしまう。それどころか「Coming Up」ではロビーとヘイミッシュのギタープレイそれぞれが聞き分けられてしまうほど。この曲で聞かせるクリス・ウィッテンのハイパーなドラミングも懐かしい。
それにポール自身も五回に渡って行われたフォーラム公演の最終日ということもあり、力を出し切らんばかりの熱唱を随所で聞かせてくれる。これまた89年オンリーのレアなアレンジであったキーを上げた「Yesterday」(つまりノーマルのチューニングのギターで弾き語る)などはまさに熱唱。さらにフィナーレの「Golden Slumbers」でポールがピアノを弾き違えてしまうという一瞬の凡ミス・ハプニングまでも、ダイレクト感が抜群の録音だけにしっかり聞こえてしまう。
今回のリリースに際しては、曲間のみながらカット個所には先の「BRILLIANT FOR US TO BE BACK HERE IN THE U.S. OF A」音源を採用。毎週が話題のミラード音源だけに、いくつものアイテムの登場が予想されますが、別音源を駆使してカット個所を補填してみせたのは本タイトルだけでしょう。そしてミラード・テープではおなじみな現象と言える高めなピッチもきっちりとアジャスト。初日や27日と違い、今まで決定的な音源の存在しなかったLAフォーラム最終日がまさかのミラード録音で刷新されます!


★既発「BRILLIANT FOR US TO BE BACK HERE IN THE U.S. OF A」はピッチが速いので修正して、適時イコライズして補填しました。



Disc 1 (61:13)
1. Figure Of Eight
2. Jet
3. Rough Ride
4. Got To Get You Into My Life
5. Band On The Run
6. Ebony And Ivory
7. We Got Married
8. Maybe I’m Amazed
9. The Long And Winding Road ★4:17 テープチェンジ (既発も切れてる)
10. Fool On The Hill
11. Sgt. Pepper’s Lonely Hearts Club Band
12. Good Day Sunshine
13. Can’t Buy Me Love

Disc 2 (76:27)
1. Bourree In E Minor (snippet)
2. Put It There
3. Things We Said Today
4. Eleanor Rigby
5. This One
6. My Brave Face
7. Back In The U.S.S.R. ★3:24 – 3:27 同日別音源の既発で補填 (本来テープチェンジではない所が切れてる – “イー”の奇声を嫌ったか?)
8. I Saw Her Standing There ★3:18 – 3:28 同日別音源の既発で補填 (テープチェンジ)
9. Twenty Flight Rock
10. Coming Up
11. Let It Be
12. Ain’t That A Shame
13. Live And Let Die
14. Hey Jude ★7:50 – 9:37 同日別音源の既発で補填 (テープチェンジ)
15. Yesterday
16. Get Back
17. Golden Slumbers
18. Carry That Weight
19. The End

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