Rolling Stones / Los Angeles 1989 3rd Night: Mike Millard Master Tapes / 2CD / Non Label
Live at Memorial Coliseum, Los Angeles, CA, USA 21st October 1989
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The fact that the legendary taper Mike Millard participated in the 1989 “STEEL WHEELS” tour and recorded was not known until now, and JEMS in the past few years has been his audience recording master. It became clear by publication and surprised maniacs all over the world. From the records left behind, so far, starting with “LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES”, “OAKLAND 1989 1ST NIGHT: MIKE MILLARD MASTER TAPES” and “OAKLAND 1989 2ND NIGHT: MIKE MILLARD MASTER TAPES” Items such as this have been released.
And this time, the audience master who captured the pattern of the third day at the LA Memorial Coliseum was released. As already made clear from the release of “LOS ANGELES 1989 FINAL NIGHT”, Millard recorded all four shows at the Memorial Coliseum. Maniacs all over the world have been waiting for the release of recordings other than the final day, but finally the masters of other performances have seen the light of day.
Speaking of the Memorial Coliseum, it is a large venue that the Stones selected for the LA performance on the 1981 tour, but Millard was a big fan of the Stones, but he was not good at recording at a vast outdoor stadium (probably For the same reason in 1978), I had given up on participating in the race.
However, in the meantime, the Stones fell to the verge of dissolution, and it is clear that the “STEEL WHEELS” tour, which has revived from there, will use the Memorial Coliseum again. This recording was made by Millard, who was upset by this fact (because he missed 1981). However, as in “LOS ANGELES 1989 FINAL NIGHT”, the sound image with a sense of distance as seen in the two-day recording in Auckland is the same this time. It’s undeniable that Millard’s habit of disliking stadiums has appeared around here, but it’s really like him to record the excitement of the surroundings without picking up much of it, and the ease of listening unique to Millard is still alive.
After all, this day was also the rarest day in the Memorial Coliseum 4 Days. This is because “One Hit (To The Body)”, which was last removed from the regular repertoire in Syracuse in September, was played for the first time in a long time. Starting with this day, it was sporadically performed on the stage again, and it was the mirrored recording “OAKLAND 1989 2ND NIGHT” that captured the surprising scene. As far as I’m concerned, this time is overwhelmingly better.
It is clear that “One Hit” was dropped from the set when the “STEEL WHEELS” US tour September’s itinerary first went to the countryside, and this song was released after returning to the big city again. I guess it came to be played again. That’s why the performance on this day is full of enthusiasm that you can understand at a glance, and there is clearly momentum compared to the second day in Auckland. In addition, the eighties medley-like development from “Undercover Of The Night” also shines well on the stage.
In addition, it seems that the Stones are excited when it comes to a big city, and it seems that it is a mirrored recording that you can feel the real excitement in the whole performance of this day in the first place. Even in “Bitch” of this tour, which was arranged with a lot of synths, you can feel the usual Stones-like roughness and roughness, and of course Keith is the one who pulls it.
He’s in really good shape today. He plays wonderfully throughout the show, but among them, “Sympathy For The Devil” knocks him down as if he was awakened. It is even clearer than the same song of “LOS ANGELES 1989 FINAL NIGHT”, as well as the take on the second day, which is familiar with the leaked pro shot video.
Unfortunately, the cassette was switched when “Paint It Black” started, so the song was incompletely recorded, but JEMS picked it up beautifully when it was released. Not only the wonderful performance of “One Hit”, which was revived in the repertoire for the first time in a month, but also the intense staging centered on Keith, who was inspired in LA, was captured with the ease of listening unique to Millard. Just like the sold out “LOS ANGELES 1989 FINAL NIGHT”, don’t miss it!
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(remastered memo)
*Fixed a slightly faster pitch.
★Bend position adjustment
★Slightly raised the overall sound pressure.
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★★ The sound source of this day is the first appearance!
Non Label