U.K. / Santa Monica 1978 Mike Millard Master Tape / 1CD

U.K. / Santa Monica 1978: Mike Millard Master Tape / 1CD / Virtuoso

Live at Civic Auditorium, Santa Monica, CA, USA 28th July 1978


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Master excavation project of legendary master Mike Millard who does not know that it will not decline even after the New Year. Introducing the latest and de-class live album that has been declared “one of the best masterpieces”. What is recorded in this work is “July 28, 1978 Santa Monica performance”. It is the transcendental audience recording. If you’re a maniac, you’ll probably be wondering “that day?”, But to explain what that means, first of all, the show position. Let’s look back on the schedule at the time when we made our sensational debut with “U.K.” 《January: Release of “U.K. ・ April 29-May 15: UK (13 performances) ・ June 23-August 8: North America # 1 (22 performances) ← ★ Coco ★ ・ September 1st-October 8th: North America # 2 (11 performances) ・ November 9: Cleveland performance 《November: Dismantling the four-member group → Starting production of “Danger Money”》 This is the outline of the original U.K. activities. The main was a North American tour of about 3 months, but the Santa Monica performance of this work is in the middle of it. It was the 17th performance of “North America # 1”, which was the undercard of Al Di Meola. Speaking of the symbol of this period, the official board “CONCERT CLASSICS, VOL.4” that recorded the Boston performance is famous, but this work is also 17 days later. By the way, such Santa Monica performances have long been familiar to enthusiasts. It was broadcast on the radio, and the FM sound board sound source has become a big standard …. I made a subtle expression here, “It has been done”, but in fact, this myth was overturned by this work. In fact, the finest sound board, which has been regarded as a big standard, was the audience recording by Mirrored. This work is the ultimate board upgraded by Omoto cassette as proof that it does not move. There is no doubt that the recording is the same as the one already released from the cheers heard between the songs, but it was recorded earlier than the already released group, and the previously unreleased “Caesar’s Palace Blues” is perfect. That alone is proof of the origin, but what is truly shocking is the sound itself that goes through the whole story. This is already “super” superb. The prestigious “JEMS” that has been excavated also says that it is “one of Mike’s masterpieces”, but there is no objection to that word. After all, I couldn’t doubt that even the conventional version of Gene was an FM sound board (I think so even now), but this work is the ultimate Gene that is unique to Omoto Cassette. Actually, the direct feeling of zero distance, the details that are too vivid, and the rich sound of the official work are at the level that “this certainly can only be heard on FM broadcasting”. Furthermore, there is no hiss noise that was noticeable in the conventional board, and the glossiness of the sound with no dubbing marks is like honeydew. Holdsworth’s guitar with clear picking nuances, Bruford with delicate hand movements, Wetton’s bass barking with Buri Buri Bakibaki, Jobson’s synth and violin fluttering vividly. You can feel the many feats that are said to be the best in the progressive rock world in a super-realistic and direct manner (although we have made fine adjustments to suit modern audio equipment, it is still a transcendental sound that is not much different from the original). The quartet full show, which was called the last hero of British progressive rock, is drawn with such a transcendental sound. Here, let’s organize the set while comparing it with the traditional “CONCERT CLASSICS, VOL.4”. ● U.K. ・ Side B: Alaska / Time To Kill ・ Side A: Thirty Years / By The Light Of Day (▼) / Presto Vivace (▼) / In The Dead Of Night ● Others ・ Danger Money: The Only Thing She Needs / Caesar’s Palace Blues (★) ・ One of a Kind: Forever Until Sunday (▼) * Note: “★” is a song that has not been recorded yet. Also, “▼” is a song that cannot be heard in “CONCERT CLASSICS, VOL.4”. … And it looks like this. The official box “ULTIMATE COLLECTOR’S EDITION” also included a long version of “CONCERT CLASSICS, VOL.4”, but “Forever Until Sunday” was a song that I couldn’t listen to there either. Of course, as mentioned above, you can also enjoy “Caesar’s Palace Blues,” which was not previously recorded in the same recording. Al Di Meola’s undercard (that is, the audience on that day saw Holdsworth and Di Meola all at once. I envy them), so it has about 46 minutes, but it concentrates in that short time. The flow that was done is also wonderful. From the beginning, the B-side world of “Yukoku no Shishi” is drawn for about 9 minutes (2 songs), and in the middle stage, all songs are played on the A-side while changing the order of the songs. In the meantime, two songs from the next work “Danger Money” and new songs such as “Forever Until Sunday” announced as BRUFORD will be inserted. It is a show that expands and reinterprets the world of “The Four Masters of the Melancholy” with stage tension, including thrilling interplay. The famous recording that was not suspected to be an “FM sound board” for a long time was actually a masterpiece of Mirrored. This work is the ultimate upgrade board that has been digitized directly from the original cassette. Often used to record the finest audience are “greater than a sound board” or “just like an FM broadcast”, but this work is a superb and superb brand like that sample. It is a new masterpiece that allows you to experience the original U.K. 100% realistically with such a transcendental sound. Please enjoy it forever with the permanent storage press CD. ★ A transcendental audience recording of “July 28, 1978 Santa Monica Performance”. It is a sound source that has been known as an FM sound board for a long time, but it is actually a guest record by the legendary master Millard. It is an inscription among the inscriptions that have been digitized directly from the original cassette. Not only can you listen to the previously unreleased “Caesar’s Palace Blues,” but the sound has also been upgraded. Although it is a super-famous recording that seems to be an FM broadcast from the beginning, the freshness of the ultimate generation is tremendous, there is no hiss noise that was noticeable in the conventional board, and the glossiness of the sound with no dubbing marks is like honeydew. You can fully experience the feats of the original U.K. with a complete official class audience (?).



これがオリジナルU.K.の活動概要。そのメインは約3ヶ月の北米ツアーだったわけですが、本作のサンタモニカ公演はその中盤。アル・ディ・メオラの前座を務めた「北米#1」の17公演目にあたるコンサートでした。この時期の象徴と言えば、ボストン公演を記録した公式盤『CONCERT CLASSICS, VOL.4』が有名ですが、本作はその17日後でもあります。
曲間から聞こえる歓声からしても既発と同じ録音なのは間違いないのですが、既発群よりも早いタイミングから収録されており、これまで未公開だった「Caesar’s Palace Blues」もばっちり。それだけでも大元の証拠になるのですが、真に衝撃的なのは全編を貫くサウンドそのもの。これがもう、「超」極上なのです。発掘している名門「JEMS」も「マイクの最高傑作の1つに数えられる」と言っていますが、その言葉に異論なし。なにせジェネ落ちの従来盤でさえFMサウンドボードと信じて疑われなかった(今聴いてもそう思います)わけですが、本作はさらに大元カセットならではの究極ジェネなのですから。
そんな超絶サウンドで描かれるのは、英国プログレ最後の英雄と呼ばれたカルテットのフルショウ。ここでは伝統の『CONCERT CLASSICS, VOL.4』と比較しながらセットを整理してみましょう。

・B面:Alaska/Time To Kill
・A面:Thirty Years/By The Light Of Day(▼)/Presto Vivace(▼)/In The Dead Of Night
・デンジャー・マネー:The Only Thing She Needs/Caesar’s Palace Blues(★)
・ワン・オヴ・ア・カインド:Forever Until Sunday(▼)
※注:「★」は既発では未収録だった曲。また「▼」は『CONCERT CLASSICS, VOL.4』で聴けない曲。

……と、このようになっています。公式ボックス『ULTIMATE COLLECTOR’S EDITION』には『CONCERT CLASSICS, VOL.4』の長尺版も収録されていましたが、「Forever Until Sunday」はそこでも聴けなかった曲。もちろん、前述した通り同録音の既発にはなかった「Caesar’s Palace Blues」も楽しめます。
アル・ディ・メオラの前座(と言うことは、この日の観客はホールズワースとディ・メオラを一気に観たわけですね。なんと羨ましい)なだけに持ち時間が約46分ですが、その短い時間に濃縮された流れも見事。冒頭から『憂国の四士』のB面世界が約9分(2曲)に渡って描かれ、中盤には曲順を入れ替えながらもA面を全曲演奏。そして、その合間に次作『デンジャー・マネー』の2曲やBRUFORDとして発表される「Forever Until Sunday」といった新曲が挟み込まれてゆく。スリリングなインタープレイも含め、『憂国の四士』の世界をステージ・テンションで拡大・再解釈したショウなのです。


★「1978年7月28日サンタモニカ公演」の超絶級オーディエンス録音。以前からFMサウンドボードとして知られている音源ですが、実は伝説名手ミラードによる客録。その大元カセットからダイレクトにデジタル化された銘品中の銘品です。これまで未公開だった「Caesar’s Palace Blues」が聴けるだけでなく、そのサウンドもアップグレード。元からFM放送と思われるほどの超名録音ですが、本作は究極ジェネの鮮度が絶大で、従来盤では目立っていたヒスノイズもなく、ダビング痕皆無な鳴りの艶やかさは甘露のごとし。オリジナルU.K.の妙技を完全オフィシャル級オーディエンス(?)でフル体験できます。

01. Alaska
02. Time To Kill
03. The Only Thing She Needs
04. Forever Until Sunday
05. Thirty Years
06. By The Light Of Day
07. Presto Vivace
08. In The Dead Of Night
09. Caesar’s Palace Blues

John Wetton – Bass, Vocals
Eddie Jobson – Keyboards, Violin
Allan Holdsworth – Guitar
Bill Bruford – Drums, Percussions

Virtuoso 452



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