Have A Cigar
Considerada uma das melhores performances da turnê pelos EUA em 1975, e graças a Mike Millard, um registro em qualidade muito superior a qualquer outro disponível no período, esta captura da apresentação do Pink Floyd na Arena Los Angeles Memorial Sports em Los Angeles, CA, USA., no dia 26 de abril de 1975, é peça da primeira prateleira de qualquer coleção, principalmente em se tratando de um fã da banda que aprecia a riqueza de cada concerto do grupo, cujas performances têm identidade própria graças a genialidade dos improvisos, fruto do talento excepcional de Rick e Gilmour que se fundem através das interpretações numa atmosfera extremamente agradável aos nossos ouvidos.
Homenagem: "Mike The Mike" Millard
Esta é uma gravação do lendário Mike Millard, "sempre gratuita aos fãs", de um concerto que é realmente uma extensão do tempo. Voltar nos anos 60 e 70 através de um registro a partir de gravador cassete. Imaginem agir sorrateiramente num desses concertos hoje em dia. Provavelmente, o "gravador" secreto escolhido hoje em dia seria um smartphone, e você simultaneamente retransmitiria online pela internet, quem sabe até via youtube. Sendo pequeno o suficiente para caber em seu bolso.
Mas no caso de Millard era muito diferente... Em 26 de abril, 1975, ele chegou cedo ao show, a arena era perto da sua casa, puxou uma cadeira de rodas do porta-malas do seu carro, e começou a deslocar-se para o show como se fosse deficiente. (Freqüentemente usava uma cadeiras de rodas que ele tinha para esconder seu equipamento, fato que por si só já é incrível, surreal).
A Nakamichi 550, the expensive Japanese tape deck
that Mike Millard used for his recordings.
Assim, ele conseguiu garantir "assento" na primeira fila, em frente e no centro. Escondido debaixo de sua cadeira de rodas um gravador cassete estéreo Nakamichi, conectado à dois microfones AKG de alta fidelidade. Os seguranças daqueles dias, provavelmente desconhecem tais acontecimentos até hoje.
Suas gravações foram muito procuradas por sua qualidade - capturadas em extensão acústica de um grande ambiente, característico devido a acústica do local. Sua proximidade eliminou qualquer eco em suas gravações. Todos os instrumentos gravados imediatamente após os alto-falantes frontais. Ele tinha o hábito de marcar suas fitas, Mike nunca se envolveu em venda de bootlegs e foi totalmente contra a venda ilegal de suas gravações históricas - fato hoje que reduziu muito audiência de seus registros. Notório por "catalogar" suas cópias meticulosamente, tornou-se mais tarde possível que as gravações aparecessem para venda em LP ou CD, entretanto como detestava contrabandistas que o pressionavam para comercialização, na época ele seria capaz de delatar às autoridades, qualquer pessoa que conseguisse através de seus amigos uma cópia para contrabando. Ele mantinha um diário das gravações detalhando os eventos através de marcações, exceções eram bastante raras. Há alguns anos, algumas cópias desmarcadas de gravações de primeira geração do Led Zeppelin surgiram em círculos de troca, um momento verdadeiramente histórico para colecionadores de todo o mundo.
Ele trabalhava como zelador em uma escola pública e sempre morou com sua mãe. Em um momento de depressão, infelizmente cometeu suicídio em 1990, (alegadamente sofria de depressão severa).
Seus amigos dizem que ele destruiu muitas das cópias de suas gravações. Os poucos que restaram são os que agora estão sendo negociados e ou compartilhados desde então.
Millard esteve ativo desde 1974 até os anos 80, e disse ter gravado shows do Led Zeppelin, Pink Floyd, Yes, The Rolling Stones, The Who, Jethro Tull e até Kansas. Até hoje, nunca encontrou-se uma cópia de suas gravações de The Who ou do JT. Os originais Zeppelin são conhecidos por estar de posse da família Millard. Um amigo que o conhecia muito bem, após sua morte esteve na residência de sua mãe para ajudá-la a organizar e embalar todo material remanescente, e segundo ele, ela não teria outro objetivo senão manter tudo no quarto onde sempre estiveram. Tanto quanto se sabe, ainda estão no quarto onde ele estava vivendo ao longo de sua vida. Esperemos que um dia eles venham ser compartilhados. (Harvested)
Este bootleg é especial, pois é um dos poucos de 1975 que é completo e com soberba qualidade dentre os disponíveis. Ele contém as versões mais atuais de "Dick Parry" com um solo de saxofone em "Echoes", "Raving and Drooling" e "You Gotta Be Crazy", que acabariam por se tornarem "Sheep" e "Dogs", respectivamente.
Depois de "You Gotta Be Crazy", "Dave Gilmour" comentou que "Era uma canção cruel .... Mas justa. Para então anunciar: "A próxima música que vamos tocar para vocês é mais um novo número, que é chamado de 'Shine On You Crazy Diamond'. Tem algo a ver com "Syd Barrett", que alguns de vocês devem se lembrar ..... e alguns de vocês mais jovens provavelmente não irão."
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Boa audição!
Echoes
Pink Floyd
Definitive Millard 1975 (Sigma 228)
Live At Los Angeles Memorial Sports Arena,
Los Angeles, CA, USA 26th April 1975
Disc 1
1. Mike Test
2. Intro.
3. Raving And Drooling
4. You Gotta Be Crazy
5. Shine On You Crazy Diamond (Part 1-5)
6. Have A Cigar
7. Shine On You Crazy Diamond (Part 6-9)
TOTAL TIME (63:14)
Disc 2
[The Dark Side Of The Moon]
1. Speak To Me
2. Breathe
3. On The Run
4. Time
5. Breathe (Reprise)
6. The Great Gig In The Sky
7. Money
8. Us And Them
9. Any Colour You Like
10. Brain Damage
11. Eclipse
TOTAL TIME (56:49)
Disc 3
1. Audience
2. Echoes
TOTAL TIME (24:22)
Bonus DVDR
Abaixo matéria da Sigma a respeito do registro, confira:
Pink Floyd / Definitive Millard / 3CD+1Bonus DVDR / Sigma
Live at Los Angeles Memorial Sports Arena, Los Angeles, CA, USA 26th April 1975 plus Bonus DVDR “Los Angeles 1975 5th Night”
The Pink Floyd 1975 legendary recording updated by that Mike Millerd! The long-stopped LA performance is finally at the top of the 2019 latest technology!
Speaking of the United States tour of Floyd 75 for sound source fans, it is a treasure trove of excellent sound sources with excellent recordings. In particular, high-quality audience recordings such as “ARMS OF VANCOUVER (Sigma 56)”, “SEATTLE MASTER REELS (Sigma 58)”, “THEORY OF RUIN VALUE (Sigma 46)” such as the first US tour in April It is lined up and fascinates sound source fans. However, it is a legendary taper that the recording excellent in sound quality was outstanding during these performances of April in the 70’s, Los Angeles performances of April 26 by Mike Millerd. This is a very special-grade high-quality sound recording, and so far this Sigma label has released a decisive strike such as “LOS ANGELES 1975 4TH NIGHT (Sigma 148)” including “PINK MILLARD (Sigma 31)”. In particular, the Sigma 148, like the Sigma 31, does not have a slight excess equalization and convenient cut editing, and keeps the 1st Gen’s clear mirrored recording transferred to DAT tape almost untouched and untouched except for pitch adjustment. It was highly appreciated that this show was well received by fans as an overwhelming title, not an exaggeration to say that it is the top of all existing 1975 sound sources.
It is a translation that is a standard sound source that represents the Floyd 75 sound source, but this is why it is also possible to push the perfection to the ultimate thing that brings the perfection from the beginner to the expert. I think that it is the mission of leading Sigma. As well known, this sound source is so excellent in recording that it does not feel particularly uncomfortable on hearing, and it seems that there is no problem in sound quality, but it is not necessarily true if it is completely essential It is not. Especially I would like to pay attention to the variation of the mid-bass range, which I notice to visualize with the master sound waveform of the mirror, but some of this range expand slightly and the sound image becomes cramped (= something that has a close feeling) In the meantime, there are places where the sound component runs short and you feel light. In addition, it is also possible to see some places where the spread of the sound can not exert its original potential.
From an audio point of view, it is assumed that the density of this midrange is high and the balance between bass and treble is well in order to make a sound that is responsive. In particular, if this middle to low range is properly organized, the sound will be more stable and energetic, and at the same time improvement in sharpness and extension of the range can be expected. It can not be done. Even if it is a standard recording representative of Floyd 75, it is also carefully restored to the ideal waveform with the latest equipment and technology of 2019, and it is arranged to the sound image of the next level without defects even in a severe eye You should see the crown overhead. Yes, it is the 2019 edition of the mirrord recording of this latest film, the most vivid sound image of the source ever, that made it come true!
However, since it was a quite high-quality sound board even at the time of Sigma 148, if you have that, you might be wondering, “Is there anything that makes a difference?” However, if you listen to this film, it is a content that you can understand in a skin sense how carefully adjusting the middle to low range has a great effect on musical energy and driving feeling and the directionality of the music. is. For example, it is Mike Millard’s voice heard at the beginning of Disc 1, but I would like to pay attention to the silent part behind his voice. With this board, you will notice from this slight opening scene that the sound has not already been clogged up (= the band has broadened and the gap has improved). “Raving And Drooling” also shows the strength based on accurate waveform control noticeably in the sound, and in “You Gotta Be Crazy”, clear sound and luster appear with a beautifully arranged sound image, and the music is final Interesting musical vocabularies before they are shaped are becoming more and more in full swing. The difference between the sharpness and power of single tones is easy to grasp in the beginning of “Shine On You … Part 1-5”, and the thickness of the hard sound coming out from 3:46 is unique to this record. “Have A Cigar” also shows that the reach of the two voices is clearer by the extension of the range, “Shine On You … Part 6-9” in the gap between the sound and sound Sigma 148 or more I think that you will be scolded by the sense of density of From the middle stage 7:03, the impressive bass sound jumps out with a sense of massive elasticity, and the MC and in-the-field reaction that can not conceal the discomfort (to the audience with low morale audience) who enters after the final performance You can experience it with a sound image with an even greater feeling.
The dark side set also has a three-dimensional cross between the guitar and the bass in the early stages of “Breathe” and “Money” than the Sigma 148, and the increase in space and the omission of reverberation in “Time” and the goodness of the reverb The singing line also became clearer, and it became possible to grasp the charm attractive to the original sound. As for “Us And Them”, the voice of the female chorus appearing slightly like the voice behind Gilmore’s voice becomes clear, and this seems to be proof that the original sound has been polished with the latest technology. Although the reverse point (with a slight loss of sound) of the master tape at 5: 01 of “Any Color You Like” remains as it is, this mirrord recording can not be patched on the same day as a source that can compensate for the patch. , Here is the form of the original sound recording. However, it will be necessary to check the cymbal sound and the point where the delicate weak sound of the guitar touch is more easily heard. Towards the final stage “Brain Damage ~ Eclipse” soft dreamy sound image, and the mellow sound of the bell sound coming after the final performance is a finish that can be affirmed that the best figure of mirrord sound source. I think you can see that the loud sound of the bass that stands out from around 7:15 is sharper than the Sigma 148 version in response to “Echoes”, and similarly, it is also due to a drop in the number of toms coming in from around 9:49 The appearance that the first half scene disappears is also better than ever, and both have produced results by close scrutiny and review of the range. In addition, the sound of fireworks (※ Pyro?) Rising at 17:50 is also clearer, and even the documentary nature as a recording that the original sound is hidden is embossed with the best sound.
In order to make the best use of the high-quality sound originally recorded in the milled, I kept in mind remastering that does not make the feeling of equalization appear, so the difference with the old Sigma 148 is slightly different from just listening lightly in the component and car stereo It may be hard to understand. However, as mentioned above, the sound is definitely clear, so if you have an old board, I strongly recommend you to listen carefully compared with headphones. Such a Sigma 148 has been sold out for a long time, and of course the store is completely out of stock in the warehouse sent for overseas sales at that time, but it was a situation where it was out of stock although it was a standard for a while. As a matter of fact, many requests for recurrence have been received, and this time it was also a version upgrade in a form that meets that expectation, therefore “The standard that makes you feel totally lost from beginners to collectors sound source The goal is to achieve the finish of the sound source, and a definitive mirror sound is realized. Now over time
Please check carefully with the ear, the difference in the case of the sound that is appropriate for being heard afterward !!!
(Remastered note)
★ Adjusted the mid-low range to broaden the entire range and to make the performance clearer. It is difficult to understand because it is an adjustment that does not bring out a sense of equalizing and high-quality sound originally, but it is clear.
Shine On You Crazy Diamond (Part 1-5)
FLAC
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(Jim Harrington)
