Rolling Stones / Oakland 1989 1st Night Mike Millard Master Tapes / 2CD

Rolling Stones / Oakland 1989 1st Night Mike Millard Master Tapes / 2CD / Non Label
Oakland Alameda County Coliseum, Oakland, CA, USA 4th November 1989

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Speaking of the Rolling Stones’ 1989 Auckland, “OAKLAND 1989 1ST NIGHT” had already been released, but this time a new sound source recorded by Mike Millard on the same day was unearthed in his weekly master release. rice field. “OAKLAND 1989-” was also a sound source released on the net, but the excitement of the surroundings witnessed the revival of Stones in 1989 was tremendous, and more than that, the friction sound of the microphone was included in some scenes. In that respect, it can be said that it was a sound source for enthusiasts or with a high hurdle.
Speaking of Millard’s Stones 1989 tour recording, “LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES”, which was sold out with great popularity since its release last year, appeared in a pair, but the recording condition is the same this time as well. Therefore, it is a sound image with a sense of distance as a mirrored recording, but this is a single thing that attracted the attention of the world due to the resurrection of Stones, and it is to secure a good positive on the stadium tour where the ticket showed the appearance of a scramble. Is it a proof that it was difficult?
However, this time, the quality of the sound quality surpasses that of “LOS ANGELES 1989-“, and the secret of ease of listening is that the direct feeling of the performance is more clearly conveyed. And above all, it is the mirrored quality of the stone that lets you listen to the end in a state that is far more stable than “OAKLAND 1989 1ST NIGHT” (hereinafter referred to as “already released board”).

At the time of the release of the existing board, the friction noise of the microphone that I touched first became a big stress, and above all, the problem such as the cut during performance that occurred in “Dead Flowers” etc. due to the tape change was all this time. No. Besides, it seems to be Millard that the surroundings are very quiet, so isn’t it a different concert compared to the existing version? The biggest difference is that the recording environment is so different that it makes you feel like you are illusioning. There is no noise such as excitement and conversation around there in this mirrored sound source.
The recording condition was so different, yet it was in a state where you could listen with peace of mind, so it was a big advantage of this new sound source that there were discoveries that could not be heard on the existing board. For example, I can clearly hear Mick calling “Charlie” before starting “Harlem Shuffle”, but it was difficult to hear because it was buried in the sense of distance on the existing board. In addition, it has become an irreplaceable scene now, and I cannot help feeling the gratitude of the mirrored sound source.
And above all, the point that Charlie’s drumming can be heard clearly is too high compared to the existing board. 1989 was the beginning of a new play style in terms of his drumming, but the pleasant thing about the fill-in called “Takata Kataka” that echoes everywhere. The fill-in is clear around “Brown Sugar”, which has disappeared from the repertoire now, and it is a recording state that I can not help remembering Charlie unexpectedly.

The whole performance was in a rock solid area two months after the start of the tour, but I thought that it was still running with a runaway momentum, thanks to the high sound quality unique to Mirrored. This is especially noticeable from “Sad Sad Sad”, and it reminds us that the high-tension performance that was felt even from the existing board was not false. Among them, Mick was in a really sharp tone, and was it supposed to be recorded on this day as well? The tension of Mick and other Stones is so high that it makes me wonder.
Among them, Ronnie is the only one who can see and hide the unevenness of the performance with his light glue. Ironically, thanks to the mirrored recording, which has a clear outline of the performance, the difference between his solo and non-feeling solos is clearly visible. The lead he played around “Undercover Of The Night” and “Angie” was a bit dull, but when it came to “Dead Flowers” playing a telecaster with a string venter, he turned around and told me a enthusiastic phrase. You will hear the play as if you were awakened in the following songs. For that reason, the existing board, which had a cut in the interlude of the same song, was painful.
And speaking of Oakland, we must not forget the Stones’ first boot “LIVER THAN YOU’LL EVER BE”, while that historic live was recorded by TMOQ’s Dove Taylor on November 9, 1969. , This time the sound source was recorded by Mike Millard on the near miss date of November 4, 1989, so to speak, “LIVER THAN ~” 20 years later. Don’t miss Millard’s new audience album of 1989, which will deliver a quality that surpasses that of the sold-out masterpiece “LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES”!

★ It is a different master from the one released in 2017, and the sound quality of this mirrored sound source is much better.

★ “LOS ANGELES 1989 FINAL NIGHT: MIKE MILLARD MASTER TAPES” (10/22/89) released in July last year was sold out in a short period of time. This time too, the content is wonderful, so please place your order as soon as possible.

ローリング・ストーンズの1989年オークランドと言えば「OAKLAND 1989 1ST NIGHT」がリリース済でしたが、今度は同じ日をマイク・ミラードが録音した新音源が毎週恒例な彼のマスター公開の中で発掘されました。「OAKLAND 1989～」もまたネット上で公開された音源ではありましたが、89年当時のストーンズ復活を目の当たりにした周囲の盛り上がりが凄まじく、それ以上にいくつかの場面でマイクの摩擦音が入ってしまうという点でマニア向け、あるいはハードル高めな音源であったと言えるでしょう。
ミラードのストーンズ89年ツアー録音と言えば昨年リリースから大好評のうちに完売した「LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES」が一足にお目見えしましたが、今回も録音状態は同じ傾向。よってミラード録音としては少し距離感のある音像なのですが、これは一重にストーンズの復活によって世界中の注目を集め、チケットが争奪戦の様相を呈したスタジアム・ツアーで良ポジを確保するのが困難であった証かと。
しかし今回は「LOS ANGELES 1989～」を凌駕するクオリティの音質でして、それと比べて演奏のダイレクト感がよりはっきり伝わってくるのが聞きやすさの秘訣。そして何より「OAKLAND 1989 1ST NIGHT」（以下“既発盤”と称します）よりもはるかに安定感抜群な状態で最後まで聞き込ませてくれるのが流石のミラード・クオリティ。

既発盤のリリース時には最初に触れたマイクの摩擦ノイズが大きなストレスとなっていしまっていた上、何よりテープチェンジが原因で「Dead Flowers」などに生じていた演奏中のカットといった問題が今回は一切ない。それに周囲が非常に静かな状況で捉えてくれているのもミラードらしいところで、既発盤と比べると別のコンサートではないか？と錯覚しそうになるほど録音環境が異なるのが一番の違い。そこにあった周囲の盛り上がりや会話といった騒がしさが今回のミラード音源にはまったくないのです。
あまりにも録音状態が違い、それでいて安心して聞きこめる状態でもあるということから、既発盤では聞き取れなかった発見があるのも今回の新音源の大きなアドバンテージ。例えば「Harlem Shuffle」を始める前にミックが「チャーリー」と呼びかける場面が今回はっきり聞き取れますが、これが既発盤では距離感に埋もれて聞き取りにくかった。おまけに今となってはかけがえのない場面となってしまったこともあり、なおさらミラード音源のありがたみを感じずにはいられません。
そして何より既発盤と比べてはるかにチャーリーのドラミングがクリアーに聞き取れるというポイントが高すぎる。89年は彼のドラミングという点でも新たなプレイ・スタイルの始まりだったのですが、随所で鳴り響く「タカタカタカ」というフィルインの快いこと。これまた今となってはレパートリーから姿を消してしまった「Brown Sugar」辺りでそのフィルインが冴えわたっており、図らずもチャーリーを偲ばずにはいられない録音状態でもあるのです。

演奏全体はツアー開始から二か月を経過したところで盤石の域…かと思いきや、未だに暴走気味な勢いと共に突っ走ってくれる様子もミラードならではの高音質のおかげでしっかり伝わってくる。「Sad Sad Sad」からは特にそれが顕著で、既発盤からでも感じられたテンションの高い演奏ぶりが偽りでなかったことを思い知らされます。中でもミックは本当にキレッキレな調子で、もしかしてこの日は公開前提の収録を兼ねていたのか？と訝しく思ってしまいそうなほど、ミックを始めとしたストーンズの面々のテンションが高い。
そんな中で唯一、持ち前の軽いノリで演奏のムラが見え隠れしているのがロニー。皮肉なことに演奏の輪郭がはっきりしているミラード録音のおかげで彼の気持ちの入ってるソロとそうでない曲の差がはっきり見えてしまう。「Undercover Of The Night」や「Angie」辺りで彼が弾いたリードはまるで冴えない調子なのですが、ストリング・ベンター付きテレキャスターを弾く「Dead Flowers」になると一転して気合の入ったフレーズを聞かせ、以降の曲でも覚醒したかのようなプレイが聞かれます。それだけに同曲の間奏でカットが入ってしまった既発盤は痛かった。
そしてオークランドと言えばストーンズ初ブート「LIVER THAN YOU’LL EVER BE」を忘れちゃいけない訳ですが、あの歴史的なライブが1969年11月9日にTMOQのダブ・テイラーによって録音されたのに対し、今回の音源は1989年11月4日というニアミスな日付でマイク・ミラードが録音してくれた、いわば20年後の「LIVER THAN～」。あの完売となってしまった名作「LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES」をも凌ぐクオリティでお届けするミラード89年の新たなオーディエンス・アルバム、今回も絶対にお見逃しなく！

★2017年リリースの既発とは別マスターで、音質は今回のミラード音源の方が遥かに良い。

★昨年7月リリースの「LOS ANGELES 1989 FINAL NIGHT: MIKE MILLARD MASTER TAPES」(10/22/89)は短期間で完売。今回も素晴らしい内容ですので、オーダーはお早めによろしくお願い致します。

Disc 1 (73:40)
1. Continental Drift
2. Start Me Up
3. Bitch
4. Sad Sad Sad
5. Undercover Of The Night
6. Harlem Shuffle
7. Tumbling Dice
8. Miss You
9. Ruby Tuesday
10. Angie
11. Dead Flowers
12. Rock And A Hard Place
13. Mixed Emotions
14. Honky Tonk Women
15. Midnight Rambler

Disc 2 (68:53)
1. You Can’t Always Get What You Want
2. Before They Make Me Run
3. Happy
4. Paint It Black
5. 2000 Light Years From Home
6. Sympathy For The Devil
7. Gimme Shelter
8. Band Introductions
9. It’s Only Rock ‘n Roll
10. Brown Sugar
11. Satisfaction
12. Jumping Jack Flash