Along with ZEP and the Stones, Mike Millard is also known as an avid fan of YES. The ABWH album left behind by such a legendary master is now available. What is infused into this work is “September 6 + 7, 1989 Los Angeles performance”. It is a transcendental audience recording. ABWH began producing albums and touring with Tony Levin on bass, but was replaced by Jeff Berlin for some dates. Let's sort out the situation and check the show's position. 1989《Senkou released on June 20》・July 29-August 28: North America #1a (25 performances)《Tony Levin → Jeff Berlin replaced》・September 4-10: North America #1b (7 performances) ←★Coco★《Tony Levin returns》 October 20th to November 23rd: Europe (24 performances) 1990 February 21st to 23rd: Spain (3 performances) 3 March 1st-8th: Japan (6 performances) March 12th-23rd: North America #2 (10 performances) This is an overview of ABWH's activities. The official work ``AN EVENING OF YES MUSIC PLUS (September 9th)'' was performed by Berlin, but he was actually a pinch hitter for only seven performances while Levin was suffering from food poisoning. The two Los Angeles performances of this work are also the same “North America #2b”. It was the third and fourth performance. [The highest level version that raises the accuracy of the patch that Millard himself did] This work recorded at such a show is truly the best. Although it is called a mirrored collection, there are waves, but this work has a high quality sound that is rare even by the standards of the legendary master. However, it is not perfect. Millard recorded both of the two days in LA (September 6th/7th), and the main one in this work is the “first day (September 6th)” which had better sound. However, on this day, Millard got stuck in a traffic jam and was unexpectedly late. I missed recording the first 10 minutes (just Jon Anderson's solo time). Therefore, that part was patched to the "2nd day (September 7th)" at the same venue. It's in a full show format. This is not something our store does on its own. This is what Millard himself did when giving a copy to his friend (Rob), and this is the "1st Gene Tape" as the title suggests. I don't think it's available in any format other than this one. In fact, the sound quality is the same on both days, and there is no difference in texture, but the rather big difference is audience noise. Compared to the main first day recording (6th), the surrounding voices are louder on the second day (7th) at the beginning. When I listen to it, it sounds like the audience, which was initially noisy, suddenly moved further away as Howe became solo. In addition, in this work, such connections have been refinished to be even more seamless and beautiful. Mirrored is connected by manual dubbing of an analog cassette, and the original sound of the net is switched with the same dropout and cutout. Moreover, the stereo feeling was reversed in the complementary part, probably due to a mistake during dubbing. Therefore, in this work, the volume / sound pressure / stereo feeling of both days recording was rearranged and fade connection was made. Since the connection point is also the cheering part, we achieved a natural result that you can't tell where or when the switch was made. [A world of ultra-beautiful sounds that could only be achieved with "Mirrored + Outdoors"] The first 10 minutes became quite long, but after that it was just a blissful evening of YES music. Perhaps because the "GREEK THEATER" that was the venue was an outdoor amphitheater, the sound from the PA was picked up with zero echoes, and it was more on, direct, and close than usual. Although the evidence of audience recording can be felt in the lively applause, once the performance begins, unless you keep reminding yourself, "This is a guest record, a guest record, a guest record," you will no longer think it is an official work. The super best sound continues endlessly. Outdoors, where there are no walls or ceilings that reflect sound, is the perfect location to aim for direct, famous recordings. When you add the absolute master's mirrored magic to it, you can achieve such an amazing sound. As mentioned above, this work has been patched due to late arrival, and ABWH also has many sound boards. Taking these two circumstances into consideration, I decided to introduce this from the Amity label, but the sound itself flowing from the speakers is completely press-grade... No, it's a utopia of YES music that surpasses even the official work "AN EVENING OF YES MUSIC PLUS". is. A beautiful and vivid sound that could only have been achieved by Millard, who loves YES and has mastered the sound through repeated recordings. Superb audience recording of “September 6, 1989 Los Angeles Performance”. Even with the absolutely masterful Mirrored Collection, the sound is exceptional, and perhaps because it is an outdoor amphitheater, the output sound of the PA is picked up with zero echo, and it is more on, direct, and close than usual. However, at that time Millard was late due to traffic jams, so only the first 10 minutes (John's solo corner) were patched with "September 7th" the next day (the original sound was done by Millard's hand, but this work (I reconnected them seamlessly and beautifully). This is a two-disc set that surpasses the official version, packed with the beauty and vivid sound that could only be achieved by Millard, who loved YES and was familiar with the sound output by repeatedly recording. Greek Theatre, Los Angeles, CA, USA 6th September 1989 TRULY PERFECT SOUND Disc 1 (78:36) Greek Theatre, Los Angeles, CA, USA 7th September 1989 1. Young Person's Guide To The Orchestra > 2. Time And A Word 3 Owner Of A Lonely Heart 4. Teakbois ★2:21 (Date change) ★Connected more smoothly. Greek Theatre, Los Angeles, CA, USA 6th September 1989 5. Clap 6. Mood For A Day 7. Rick Wakeman Solo 8. Long Distance Runaround 9. Bill Bruford Solo 10. Birthright 11. And You And I 12. I've Seen All Good People 13. Close To The EdgeDisc 2 (67:06) 1. Themes 2. Brother Of Mine 3. The Meeting 4. Heart Of The Sunrise 5. Order Of The Universe 6. Roundabout 7. Starship Trooper Jon Anderson - Vocals Bill Bruford - Drums Steve Howe - Guitars Rick Wakeman - Keyboards Jeff Berlin - Bass Julian Colbeck - Keyboards Milton Mcdonald - Guitars
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