Mike Millard is an absolute master who has achieved unparalleled glory in the history of audience recording. The latest collection, the SANTANA edition, is now available. The legendary recording artist was present at the “Costa Mesa performance on September 15, 1990.” It is the super best audience recording. At that time, SANTANA toured the world on a tour accompanying "SPIRITS DANCING IN THE FLESH." At our store, the soundboard album "ATHENS 1991 (Uxbridge 1380)" is also popular, so let's check the position from the entire tour view. 1990・April 12th - May 26th: North America #1 (14 performances)《SPIRITS DANCING IN THE FLESH'' released in June》 ・May 29th - June 30th: Europe #1 (26 performances)・July 13th - November 21st: North America #2 (68 performances) ←★Coco★ 1991 ・January 19th + 24th: ROCK IN RIO appearance ・April 27th - May 11th: North American #3 (6 performances) ・May 15th-22nd: Japan (6 performances) ・May 25th-June 28th: North America #4 (9 performances) ・July 7th-27th: Europe #2 (17th performance) Performances) ← *ATHENS 1991 August 30th - November 3rd: North America #5 (19 performances) This is SANTANA in 1990/1991. The tour had begun before the release of "SPIRITS DANCING IN THE FLESH," but the main event was "North America #2," which consisted of nearly 70 performances. The Costa Mesa performance of this work was the 35th concert. Our masterpiece “ATHENS 1991” was a record of the final stage when the schedule became scattered, but this work is a live album from the time when it was still going around like a carpet bombing. This work, recorded at such a scene, has a super superb sound that will make you sigh, ``As expected of Millard.'' The core is extremely thick, there is no sense of distance, and the details are extremely delicate...the quality is so perfect that it would be foolish to list them out again. However, its individuality is a little different from the usual Millard works. What can I say, it's hotter than ever. The reason for this is probably the venue. The Pacific Amphitheater, where the scene took place, is a large, fan-shaped amphitheater. Therefore, there are no ceilings or walls to reflect sound, and the sound output from the PA is picked up directly. As was the case with ANDERSON BRUFORD WAKEMAN HOWE's ``GREEK THEATER 1989'' that I introduced the other day, Millard's technique shines even more dazzlingly at outdoor venues, achieving a more direct feeling than usual. In the case of this work, there is also another sense of the outdoors. It's the audience's sense of freedom. Loud applause filled the wide open space, and coupled with the Latin rhythm, it was extremely heated. Of course, there is no echo from the loud cheers, so it is not difficult to hear as it envelops the performance, but it is livelier (in a good way) than the usual mirrored recording. That enthusiasm is fed back to the stage, and a performance full of freshness and boldness comes out of the speakers, just like an autumn festival. What is drawn with such refreshing and clear sound is a full show that is similar to the 25th anniversary tour of the following year. Here, let's organize it while comparing it with the masterpiece soundboard album "ATHENS 1991" mentioned above. 60's/70's - Santana: Soul Sacrifice (★) / Jingo - Heaven's Guardian: Black Magic Woman / Gypsy Queen / Oye Como Va - Santana III: Toussaint L'Ouverture (★) - Amigo: Europa (Earth's Cry, Heaven's Smile) ・Moon Flower: She's Not There (★) 80's onwards ・Freedom: Mandela ・Blues For Salvador (★) ・Spirits Dancing In The Flesh／It's A Jungle Out There／Choose (★)・Milagro: Somewhere In Heaven/We Don't Have To Wait (★) Others・The Healer (★)/Little Wing (★) *Note: “★” marks are from the soundboard album “ATHENS 1991” A song you can't listen to. ...and it looks like this. The collection includes representative songs from each era, and the balance with valuable accent songs is also great. "Choose," which was unique to that time, "Blues For Salvador," which was released under his solo name, "The Healer," which marked John Lee Hooker's comeback, and "Somewhere In," which would be included in his next album, "MILAGRO." Heaven,” “We Don't Have To Wait,” and more. It is a live album full of toy box feeling, with a more diverse repertoire than ever before. The master excavation project of the absolute master Millard has already reached 90 works. Our store only carefully selects and introduces items, so we don't archive everything, but it's still a huge collection. Considering that the number of previously known mirrored recordings was less than 40, this is an incredibly historic undertaking. This latest work is a scorching live album that conveys the taste of "outdoor + mirrored". Superb audience recording of "September 15, 1990 Costa Mesa Performance". The "Pacific Amphitheater" that was the venue is an amphitheater with no walls or ceiling, so the sound is picked up directly with no echoes, making it extremely direct. What's more, the audience's enthusiasm was full of openness, and the performance, filled with the freshness and boldness of an autumn festival, came out of the speakers. This is a live album where you can enjoy a more diverse repertoire than ever before, including "Choose," "Blues For Salvador," and "The Healer," which featured John Lee Hooker's revival. Pacific Amphitheater, Costa Mesa, CA. USA 15th September 1990 TRULY PERFECT SOUND Disc 1 (71:50) 1. Intro 2. Angels All Around Us/Spirits Dancing In The Flesh 3. The Healer 4. It's A Jungle Out There 5. Somewhere In Heaven 6. We Don't Have To Wait 7. Little Wing (Benny Rietveld Bass Solo) 8. Black Magic Woman 9. Gypsy Woman 10. Oye Como Va 11. Mandela Disc 2 (51:04) 1. Blues For Salvador 2. Choose 3. She's Not There 4. Toussaint L'Ouverture 5. Soul Sacrifice 6. Europa 7. Jin-go-lo-ba Carlos Santana - Guitar, Percussion, Vocal Benny Rietveld - Bass Walfredo De Los Reyes - Drums Raul Rekow - Percussion, Vocal Chester Thompson - Keyboards, Vocal Alex Ligertwood - Guitar, Vocal
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