Speaking of the Rolling Stones' 1989 Oakland, "OAKLAND 1989 1ST NIGHT" has already been released, but this time a new sound source recorded by Mike Millard on the same day was discovered during his weekly master release. Ta. "OAKLAND 1989~" was also a sound source that was released on the internet, but the excitement of the people around them who witnessed the Stones' revival in 1989 was tremendous, and moreover, the friction sound of the microphone was heard in some scenes. In that sense, it can be said that it was a sound source for enthusiasts or a high hurdle. Speaking of Millard's Stones 1989 tour recording, "LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES", which was sold out after its release last year and was very popular, has appeared in a pair, but the recording condition is the same this time as well. Therefore, the sound image is a bit distant for a mirrored recording, but this is due to the revival of the Stones, which has attracted attention from all over the world, and it is important to secure a good position on the stadium tour where tickets are highly competitive. Is this proof that it was difficult? However, this time, the sound quality surpasses that of "LOS ANGELES 1989~", and the secret to its ease of listening is that the direct feeling of the performance is more clearly transmitted compared to that. And above all, it is a mirrored quality that allows you to listen to the end in a much more stable state than "OAKLAND 1989 1ST NIGHT" (hereinafter referred to as "already released version"). When the previous edition was released, the friction noise of the microphone that was first touched was a big stress, and above all, the problem of cuts during performance that occurred on songs such as "Dead Flowers" due to tape changes was completely eliminated this time. do not have. Also, it's typical of Millard that the surroundings were captured in a very quiet situation, so isn't it a different concert compared to the previous releases? The biggest difference is that the recording environment is so different that you almost get the illusion that it is. The noise of the surrounding excitement and conversation that was there is completely absent from this mirrored sound source. The recording condition is so different, yet it is also in a condition that you can listen to with peace of mind, so it is a big advantage of this new sound source that there are discoveries that could not be heard on the previously released edition. For example, you can clearly hear the scene where Mick calls out “Charlie” before starting “Harlem Shuffle”, but this was difficult to hear on the previously released version because it was buried in the distance. In addition, now that it has become an irreplaceable scene, I can't help but feel the value of the mirrored sound source all the more. And above all, the point that Charlie's drumming can be heard much more clearly than on the already released version is too high. 1989 was the beginning of a new playing style in terms of his drumming, and the pleasant fill-in "takata kataka" that resounds everywhere. The fill-in is also clear around "Brown Sugar", which has now disappeared from the repertoire, and it is also a recording state that can't help but remember Charlie. The performance as a whole has been rock solid since the start of the tour two months ago, but you can still hear how they are rushing forward with a momentum that seems to run out of control thanks to Millard's unique high sound quality. This is especially noticeable from “Sad Sad Sad”, and you will be reminded that the high-tension performance that was felt even from the already released version was not a lie. Among them, Mick was in a really sharp tone, perhaps he was also recording on this day for a public release? The excitement of Mick and other members of the Stones is so high that you might wonder. Among them, Ronnie is the only one whose uneven performance is hidden by his light rhythm. Ironically, thanks to the mirrored recording, where the outline of his performance is clear, you can clearly see the difference between solos that contain his feelings and songs that don't, such as "Undercover Of The Night" and "Angie". The lead is in a dull tone, but in "Dead Flowers" where he plays a Telecaster with a string venter, he completely changes his tone and lets out phrases with a lot of spirit, and in the following songs you can hear his playing as if he had awakened. . That's why the previously released version, which included a cut during the interlude of the same song, was painful. And speaking of Oakland, we can't forget the Stones' first boot "LIVER THAN YOU'LL EVER BE", but that historic live was recorded by Dub Taylor of TMOQ on November 9, 1969. , this time's sound source was recorded by Mike Millard on the near-miss date of November 4, 1989, 20 years later, ``LIVER THAN~''. Don't miss Millard's new audience album from 1989, which has a quality that even surpasses that sold-out masterpiece "LOS ANGELES 1989 FINAL NIGHT MIKE MILLARD MASTER TAPES"! Oakland Alameda County Coliseum, Oakland, CA, USA 4th November 1989 TRULY PERFECT SOUND 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
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