YES, the symphonic rock band that Mike Millard loved dearly. The last one in the recording collection is now available as a master recording. The recording in this work is from the "Costa Mesa performance on August 6, 1991". It is a superb audience recording. Millard is said to never record the same band twice, while some bands, such as the Stones, ZEP, and GENESIS, continue to record as their life work. He was also a very extreme person. And one of his life works is YES. Starting in 1974, he continued to record every tour, and our shop has counted 10 works. This is the last one in Millard's YES collection. At that time, YES was the eight-person "UNION Tour" of the century, and its symbol is the official work "UNION LIVE", and Millard's masterpiece "L.A. FORUM 1991" is also a classic. First of all, let's look back on the schedule at that time and check the positional relationship of each. 1991, April 9-29: North America #1a (16 performances) {"Crystal" released on April 30} May 3-21: North America #1b (15 performances) ←※ L.A. FORUM 1991, May 29-June 30: Europe (20 performances) July 5-August 8: North America #2 (28 performances) ←★Here★ 1992, February 29-March 5: Japan (5 performances) {8-person YES dismantled} This is the journey of 8-person YES. Millard's previous work "L.A. FORUM 1991" was released just after "Crystal" was released, but this work's Costa Mesa performance was the 26th performance of "North America #2", about three months later. In fact, the official work "UNION LIVE" was the last day of "North America #2", so this work was two days before that (two performances before). Mirrored Master Overwhelms the Table-Connected Soundboard Some of you may already know this, but the soundboard was left behind in 1991 at Costa Mesa, and our complete version "COSTA MESA 1991 SOUNDBOARD (Amity 682)" is still fresh in my memory. This work is also a real album vacuum-packed by Miller at the same site as that soundboard album. The sound is the splendor of a barefoot soundboard. Even in the mirrored recording, which is always called "like a soundboard," the live performance with the genuine line recording "COSTA MESA 1991 SOUNDBOARD" is not good... but it is overwhelmingly winning! As soon as the riff of "Yours Is No Disgrace" sounds, led by the tape "Firebird Suite," the powerful dynamism is intense. Certainly, the soundboard version has a tremendous thickness and detail, but the sound is inorganic and too exposed. In contrast, this work boasts the same vividness, while the deep bass vibe roars and the high-pitched melody dances wildly. The dynamism is very moving, the beat stirs the soul, and the pouring harmony melts the heart. The soundboard version allowed me to calmly analyze the live performance, but no matter how calmly I try to listen to this work, it just shakes my heart. Perhaps the soundboard version is better in terms of the reproduction and amount of information of the live performance. However, this work is incredibly colorful and expressive, and beautiful as music, even though it is the same performance. Moreover, this work is also the highest peak update of such a famous recording. In the mirrored master, there was a recording error (about 20 seconds) in the second half of "Awaken" that seemed to be a tape change, but this work also compensates for that part with the soundboard version. It is a complete album with a seamless recording of the full show. A great masterpiece showdown that lets you realize the charm of the audience recording When you are in contact with many records, you may want to use the audience recording as a substitute for a soundboard. However, that is not the case. Audience recordings have advantages and merits that official and soundboard recordings do not have, and they are by no means substitutes. What is "AUD that is better than SBD" and "beauty of the audience recording only"? If you want to experience it, please compare "COSTA MESA 1991 SOUNDBOARD" and this work. It seems as if "COSTA MESA 1991 SOUNDBOARD" is a bad board, but that is not the case at all. If you actually experience both, you will understand that the direct-connected soundboard version is a masterpiece that is not just a thing, and you will be trembling at the awesomeness of the Millerd work that surpasses it. It reminds you of the obvious fact that "music is not just a collection of sounds." It seems that beautiful phrases such as "Millard is superb and natural" and "Beyond the soundboard" have become standardized, but it was true after all. I have handled countless records of many bands, but the opportunity to enjoy a "table-direct soundboard" and a "master audience" in a direct confrontation between top works is a rare luxury. A superb bootleg and a pleasure allowed only to enthusiasts who know it. A superb audience recording of the "Costa Mesa performance on August 6, 1991". A masterpiece created by the original master of absolute master Millard, the vividness and the thick feeling are comparable to the table-direct soundboard masterpiece "COSTA MESA 1991 SOUNDBOARD" of the same day, while this work is overwhelming in its powerful dynamism. What is "beauty of only the customer record" and "AUD beyond the soundboard"? It is a shocking new masterpiece that makes you realize its awesomeness. Pacific Amphitheatre, Costa Mesa, CA, USA 6th August 1991 ULTIMATE SOUND Disc:1 (71:38) 1. Firebird Suite 2. Yours Is No Disgrace 3. Rhythm Of Love 4. Shock To The System 5. Heart Of The Sunrise 6. Leaves Of Green 7. Mood For A Day 8. Make it Easy 9. Owner Of A Lonely Heart 10. And You And I Disc:2 (55:08) 1. Drum Duet 2. Changes 3. I've Seen All Good People 4. Solly's Beard 5. Saving My Heart 6. Whitefish 7. Amazing Grace 8. Lift Me Up Disc:3 (34:54) 1. Rick Wakeman Solo 2. Awaken ★13:20 - 13:41 SBD Left and right reversed to fill in 3. Roundabout Jon Anderson - Vocals Steve Howe - Guitars Trevor Rabin - Guitars Chris Squire - Bass Rick Wakeman - Keyboards Tony Kaye - Keyboards Alan White - Drums Bill Bruford - Drums
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