Mike Millard, a great figure in the history of audience recording who left behind countless masterpieces. A new super-demand recording that was also a major turning point has been unearthed. It is an urgent release decision. This work has two major meanings. One is that it is a superb live album of the famous British band FOGHAT. The other is that it is the first recording in which Millard used the golden set "AKG 451e microphone + Nakamichi 550 deck". Those who are familiar with the Millard collection will realize the weight of the latter. After all, "AKG 451e + Nakamichi 550" is synonymous with Millard. The sound quality changed dramatically before and after the introduction of this equipment set, turning Millard's reputation into an eternal one. Such a golden set was purchased for the recording of LED ZEPPELIN on March 11, 1975, but Millard did not suddenly face ZEP but made a pre-recording as a rehearsal. That was FACES' "March 5, 1975 Inglewood performance". This concert is known for the masterpiece "L.A. FORUM 1975: MIKE MILLARD 1ST GEN". However, strictly speaking, the first "AKG 451e + Nakamichi 550" recording was not FACES. FOGHAT was the opening act for FACES that day. Yes, that is this work. In fact, the documentary feel is one of the highlights of this work. After all, it was the first time using the equipment, so everything was done by trial and error. The technique of hiding in the wheelchair had not been invented, and the setting and operation were unfamiliar. The first song of the historic first recording, "Wild Cherry", was not recorded in time, and only the last minute and a half was recorded, and he also struggled with the tape flip at the end of "I Just Wanna Make Love To You". However, even though the operation was difficult, the essential sound was superb. The closeness and clarity that determined Millard's fame were full from the very beginning. You can truly feel the moment when "history began". I ended up talking about the recording, but as mentioned above, this work is undoubtedly a masterpiece as a FOGHAT music album. The classic soundboards "BOOGIE OUTLAWS" and "RICHMOND 1975 SOUNDBOARD" are also standard, so let's check the show's position with them. 1974《January: Release of “ENERGIZED”》・January 28th – April 27th: North America #1 (17 shows)・July 21st – September 4th: North America #2 (30 shows)←※BOOGIE OUTLAWS《October: Release of “ROCK AND ROLL OUTLAWS”》・November 5th – December 21st: North America #3 (25 shows)1975《February: Tony Stevens leaves → Nick Jameson joins》・February 21st – March 13th: North America #4 (7 shows)←★Here★・April 18th – June 7th: North America #5 (31 shows)←※RICHMOND 1975・July 19th – August 9th: North America #6 (3 shows)《September 15th: “FOOL FOR THE CITY" released ・October 4th - December 31st: North America #7 (47 performances) This is 1974/1975 FOGHAT. The Inglewood performance of this work was the fourth concert of "North America #4". It was about three months before "RICHMOND 1975 SOUNDBOARD", but the set is similar but different. Let's organize it by comparing it here. Foghat of the Lightning (3 songs) ・Wild Cherry / Home In My Hand (★) / Honey Hush (★) Others (4 songs) ・Fogat: Leaving Again (Again!) / I Just Wanna Make Love To You ・Others: My Babe / Chateau Lafitte '59 Boogie *Note: "★" marks are songs that could not be heard on "RICHMOND 1975 SOUNDBOARD". "At that time, history moved." This was the moment when the "AKG 451e + Nakamichi 550" sound was born, which made Mike Millard a historic figure. From here Millard's advance began, and audience recording evolved from a "peculiar hobby" to a "form of art record". This is the finest live album of British boogie, and at the same time, it is a testament to the sound of a turning point that is unique in the history of recording. This is a piece that revives such a most important recording with the original master sound. A superb audience recording of the "Inglewood performance on March 5, 1975". This is the first work with the golden equipment set "AKG 451e microphone + Nakamichi 550 deck" that was recorded as an opening act for FACES' masterpiece "L.A. FORUM 1975". The first song "Wild Cherry" was delayed in recording, and there was a sense of unfamiliarity with the equipment, such as struggling with tape flips, but the sound was superb from the very beginning. This is a masterpiece live album by FOGHAT, and at the same time, it is a historically important work that marked a major turning point in the history of audience recording. As expected from Millard...miraculous ultra-high sound quality. This is the first recording that Millard used the golden set "AKG 451e microphone + Nakamichi 550 deck".
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